Ministry of higher and secondary special education of the republic of uzbekistan termez state university department of english language and literature

CONCLUSION
William Shakespeare had an undeniable effect on the world. Shakespeare's works continue to affect people, both young and old, to this day. Over the course of his 28-year career, he wrote 37 plays, 154 sonnets, two long narrative poems, and a few other verses. Shakespeare also contributed to the development of modern literature by mixing classical and medieval literature. Shakespeare also inspired theatre by his focus on literary devices and the blending of genres. In addition, he contributed about 3,000 new words to the English language. The themes of his works are still significant today. Despite the fact that William Shakespeare has been dead for decades, he has left a lasting legacy.
The reader can understand why Shakespeare's theatre is the major literary legacy of humanity through the study of the plays. Every detail is written with great care, and every word chosen is the best fit for the space available.
Classic literature has the advantage of being continuously visible to the reader or audience, allowing for fresh viewpoints and perceptions of what has occurred. This is the reason that justifies that these texts have arrived as a masterpiece until nowadays and that they are always being reinvented and classified under a label which easily changes.
Even if a play's live production falls short of an idealized version, it is still an important experience to have in addition to learning the text in the classroom or at home in the comfort and privacy of one's own home. Shakespeare wrote all of his plays in the light of the theatre, and the sense of theatricality — scenes and language that signify the existence of an audience, as well as that audience's reciprocal knowledge of the reality of stage action — is highly characteristic of all of them, not least of The Winter's Tale. The Winter's Tale's aspect of the fantastic, derived from the romance tradition, may seem incompatible with dramatic presentation; however, The Winter's Tale's source, Greene's Pandosto, is a novel, not a play, and it is possible to gloss over events that may strike one as too ludicrous for direct representation in front of an audience in such a type. Shakespeare, on the other hand, seems to have been unconcerned about this. He often alluded to the absurdity of what is going on, but instead of nervously apologizing for the dramatic medium's shortcomings, he seems to relish the opportunity it presents. In v ii, he ingeniously creates a narrative scenario within a dramatic framework, as the story of Perdita is told secondhand rather than specifically executed, and it is into this scene that he concentrates romantic absurdities that are 'Like an old tale still, which would have matter to rehearse, though credit be asleep'. The audience is thus encouraged to laugh at an old-fashioned tall tale while also watching a profoundly touching piece of dramatized narration. They also see a statue come to life in a scene that, by ordinary standards of plausibility, should be a blatant demonstration of drama's inability to manage the more extravagant aspects of romance.