Shakespeare names have a way of feeling simultaneously ancient and completely fresh. Whether the Bard invented them outright, borrowed them from history, or lifted them from Italian novellas and English chronicles, the names that appear across his plays carry a weight and poetry that holds up across centuries.<\/p>\n
This list pulls from the full sweep of the canon: the tragedies, comedies, histories, and romances. Some of these names are back in serious use right now; others are quietly waiting for a parent bold enough to revive them. All of them have a story.<\/p>\n
Shakespeare wrote some of literature’s most vivid female characters, and their names are among his most lasting gifts to the naming world.<\/p>\n
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The most famous of all Shakespeare names needs no introduction, but it deserves one anyway. Derived from the Latin Julius<\/em>it carries centuries of romantic weight without feeling overdone. Right now it sits in a sweet spot: recognizable but not overused.<\/p>\n <\/p>\n The quick-witted heroine of Twelfth Night<\/em> lends her name a musical quality, it shares its root with the viola instrument, both tracing back to Latin viola<\/em>meaning “violet.” This one is climbing steadily and deserves every bit of its current momentum.<\/p>\n <\/p>\n From As You Like It<\/em>Rosalind is one of Shakespeare’s cleverest heroines. The name likely blends the Germanic elements hros<\/em> (horse) and lind<\/em> (soft, tender), though its rosy sound has long made it feel like a floral name. It is criminally underused right now.<\/p>\n <\/p>\n Shakespeare almost certainly coined Miranda for The Tempest<\/em>taking it from the Latin mirandus<\/em>meaning “worthy of admiration.” It had a long run in the mid-20th century and is due for a thoughtful revival.<\/p>\n <\/p>\n The brilliant lawyer of The Merchant of Venice<\/em> carries a name rooted in the Roman family name Porcius. It has an elegant, understated confidence that suits a child who will likely grow into someone formidable.<\/p>\n <\/p>\n The loyal daughter in King Lear<\/em> has a name of debated origin, possibly from the Welsh cor<\/em> (heart) or a Latinized form of a Celtic name. However it arrived, it sounds beautiful and feels genuinely rare today.<\/p>\n <\/p>\n The sparring heroine of Much Ado About Nothing<\/em> carries a name meaning “she who brings happiness,” from the Latin beatus<\/em>. It is one of the great literary names, beloved by parents who want substance over trend.<\/p>\n <\/p>\n Shakespeare used Helena in both A Midsummer Night’s Dream<\/em> and All’s Well That Ends Well<\/em>. The name derives from the Greek helene<\/em>associated with light or a torch. It feels classic without being stiff.<\/p>\n <\/p>\n Another A Midsummer Night’s Dream<\/em> heroine, Hermia is a feminization of Hermes, the Greek messenger god. It is rare, distinctive, and has a mythological depth that rewards a curious child.<\/p>\n <\/p>\n The heroine of Cymbeline<\/em> may actually be the result of a printer’s misreading of “Innogen,” but Imogen has taken on a life of its own. It is a top pick in the UK and deserves more attention in the US.<\/p>\n <\/p>\n The Queen of the Fairies in A Midsummer Night’s Dream<\/em> takes her name from the Titans of Greek mythology. Bold and theatrical, this one is for parents who are not afraid of a name with presence.<\/p>\n <\/p>\n From Troilus and Cressida<\/em>this name likely traces back through medieval retellings of the Troy legend to the Greek name Chryseis. It is unusual, literary, and genuinely striking.<\/p>\n <\/p>\n The lost princess of The Winter’s Tale<\/em> carries a name Shakespeare derived from the Latin perditus<\/em>meaning “lost.” That melancholy origin is offset by the name’s light, lovely sound.<\/p>\n <\/p>\n The heroine of Pericles<\/em> was born at sea, and her name reflects that: from the Latin marinus<\/em>meaning “of the sea.” It is warm, accessible, and quietly elegant.<\/p>\n <\/p>\n One of the most popular names in the English-speaking world right now traces part of its literary pedigree to Twelfth Night<\/em>. The name derives from the Latin oliva<\/em>meaning “olive.” Shakespeare may not have coined it, but he certainly popularized it.<\/p>\n <\/p>\n The beloved in The Two Gentlemen of Verona<\/em>Silvia comes from the Latin silva<\/em>meaning “forest.” It is the more romantic, continental spelling of Sylvia and has a gentle, sun-warmed quality.<\/p>\n <\/p>\n Portia’s witty lady-in-waiting in The Merchant of Venice<\/em> carries a name possibly derived from the Greek nereis<\/em>meaning “sea nymph.” Rare and lovely, it would make an extraordinary choice today.<\/p>\n <\/p>\n Shakespeare almost certainly invented Jessica for The Merchant of Venice<\/em>possibly from the Hebrew name Iscah. It became a dominant name in the late 20th century and still carries genuine warmth.<\/p>\n <\/p>\n The tragic heroine of Hamlet<\/em> has a name likely derived from the Greek ophelos<\/em>meaning “help” or “benefit.” The association is heavy, but the name is genuinely beautiful and currently enjoying a thoughtful revival.<\/p>\n <\/p>\n From Othello<\/em>this name is believed to derive from the Greek dysdaimon<\/em>meaning “ill-fated.” The tragic association is real, but parents who love bold, unusual names will find it irresistible.<\/p>\n <\/p>\n The men of Shakespeare’s plays range from noble princes to scheming villains, and their names are just as varied. Several are due for serious reconsideration.<\/p>\n <\/p>\n The name of literature’s most famous lover derives from the Latin Romaeus<\/em>meaning “from Rome” or “a pilgrim to Rome.” Parents in Europe and Latin America have long embraced it; English-speaking parents are slowly catching up.<\/p>\n <\/p>\n The Prince of Denmark carries a name derived from the Old Norse Amleth<\/em>meaning something close to “dull” or “stupid”, a disguise the prince famously adopted. The literary weight here is enormous, which makes it a bold but defensible choice.<\/p>\n <\/p>\n The King of the Fairies in A Midsummer Night’s Dream<\/em> has a name rooted in the Old High German Alberich<\/em>meaning “elf ruler.” It is mythic, musical, and almost entirely unused today.<\/p>\n <\/p>\n Another Midsummer<\/em> name, Lysander comes from the Greek, meaning “liberator of men.” It is the kind of long, sonorous classical name that is ripe for revival.<\/p>\n <\/p>\n The reluctant romantic of Much Ado About Nothing<\/em> carries the Latin name Benedictus, meaning “blessed.” The spelling Benedick is the Shakespearean form and distinguishes it nicely from the more common Benedict.<\/p>\n <\/p>\n The villain of Othello<\/em> carries the Iberian form of James, derived from the Hebrew Jacob. Iago is a perfectly valid name in Spain and Portugal. the Shakespearean association is intense, but the name itself is striking.<\/p>\n <\/p>\n The sorcerer-duke of The Tempest<\/em> carries a name from the Latin prosperus<\/em>meaning “fortunate” or “successful.” It is one of the most optimistic names in the canon and is genuinely underused.<\/p>\n <\/p>\n The mischievous sprite of A Midsummer Night’s Dream<\/em> has a name rooted in Old English folklore, from puca<\/em>a mischievous spirit. It is a rare but real given name, best suited to a parent with a sense of humor.<\/p>\n <\/p>\n The romantic hero of As You Like It<\/em> carries the Italian form of Roland, from the Old High German Hrodland<\/em>meaning “famous land.” It is charming, international, and has a natural nickname in Lando.<\/p>\n <\/p>\n Shakespeare used Claudio in both Much Ado About Nothing<\/em> and Measure for Measure<\/em>. The Italian and Spanish form of Claudius, from the Roman family name, it has a warm, Mediterranean ease to it.<\/p>\n <\/p>\n The jealous king of The Winter’s Tale<\/em> carries a Greek name rooted in leon<\/em>meaning “lion.” It is grand and unusual, though Leo works as a natural nickname if the full name feels like a lot.<\/p>\n <\/p>\n Shakespeare borrowed the name of the famous Athenian statesman for his late romance. From the Greek peri<\/em> and kleos<\/em>meaning “surrounded by glory.” An extraordinary name for a parent who loves classical history.<\/p>\n <\/p>\n The spirit servant of Prospero in The Tempest<\/em> carries a Hebrew name meaning “lion of God.” Shakespeare used it as a male name. today it works beautifully across genders.<\/p>\n <\/p>\n The wild, enslaved figure of The Tempest<\/em> possibly derives from “cannibal” or from a Romany word. It is a genuinely unusual name, best understood as a literary statement rather than an everyday choice.<\/p>\n <\/p>\n Used in both A Midsummer Night’s Dream<\/em> and Titus Andronicus<\/em>Demetrius derives from the Greek goddess Demeter. Long, stately, and full of classical authority.<\/p>\n <\/p>\n A supporting name in several plays, including The Merchant of Venice<\/em> and Much Ado About Nothing<\/em>Balthazar is one of the traditional names of the Three Magi. It has a wonderful, slightly exotic weight to it.<\/p>\n <\/p>\n Hamlet’s loyal friend carries a name from the Roman family name Horatius, of uncertain origin. It has a noble, steadfast quality that suits a character defined by loyalty, and it is well overdue for a comeback.<\/p>\n <\/p>\n Romeo’s quick-tongued friend in Romeo and Juliet<\/em> may take his name from the Latin mercurius<\/em>evoking the messenger god Mercury. It is theatrical and vivid, a name that announces itself.<\/p>\n <\/p>\n The flawed hero of All’s Well That Ends Well<\/em> carries an Old High German name meaning “bright raven.” It is old-fashioned in a way that is cycling back to charming.<\/p>\n <\/p>\n The eager suitor of The Taming of the Shrew<\/em> carries a name rooted in the Latin lux<\/em>meaning “light.” It is flamboyant and fun, and Luca or Lucio work as natural nicknames.<\/p>\n <\/p>\n Several names from the plays work beautifully regardless of gender, either because Shakespeare used them that way or because their sounds have shifted over time.<\/p>\n <\/p>\n The shepherdess in As You Like It<\/em> shares her name with a Titan goddess of Greek mythology, from phoibos<\/em>meaning “bright” or “radiant.” It is a top-100 favorite in several English-speaking countries and has real staying power.<\/p>\n <\/p>\n Puck is sometimes called Robin Goodfellow in A Midsummer Night’s Dream<\/em>. Robin, a medieval diminutive of Robert, has been used for boys and girls for centuries and feels fresh and unpretentious today.<\/p>\n <\/p>\n The history plays draw on real English monarchs and nobles, and several of their names carry both Shakespearean and genuine historical weight.<\/p>\n <\/p>\n Shakespeare’s history plays are practically a Henry festival: Henry IV, Henry V, Henry VI. From the Old High German Heimirich<\/em>meaning “home ruler,” Henry is a perennial top-ten name that carries enormous, effortless authority.<\/p>\n <\/p>\n Richard II and Richard III both appear in the canon. From the Old High German Ricohard<\/em>meaning “powerful ruler,” Richard is a classic that feels solid rather than stodgy.<\/p>\n <\/p>\n The scheming villain of King Lear<\/em> shares his name with Anglo-Saxon kings. From the Old English Eadmund<\/em>meaning “wealthy protector,” Edmund is warm, literary, and quietly trending upward.<\/p>\n <\/p>\n The Duke of Clarence appears in the Henry VI plays and Richard III. From the Latin place name Clarentia, it has a vintage, slightly aristocratic feel that suits the current appetite for old-fashioned names.<\/p>\n <\/p>\n Queen Margaret is one of Shakespeare’s most powerful political figures, spanning multiple history plays. From the Greek margarites<\/em>meaning “pearl,” Margaret is a heavyweight classic that is actively climbing back up the charts.<\/p>\n <\/p>\n Eleanor appears in King John<\/em> and Henry VI<\/em>. From the Old Provencal name Alienor, it has long been one of the most elegant names in the English language and shows no signs of fading.<\/p>\n <\/p>\n The Bastard Faulconbridge in King John<\/em> goes by Philip, a Greek name meaning “lover of horses.” It is sturdy, classic, and due for a quiet comeback after years on the sidelines.<\/p>\n <\/p>\n These names come from less-performed corners of the canon. They are genuinely rare, genuinely Shakespearean, and genuinely worth a closer look.<\/p>\n <\/p>\n The tragic heroine of Titus Andronicus<\/em> carries a name from ancient Roman mythology, borne by the legendary wife of Aeneas. The play is brutal, but the name is beautiful.<\/p>\n <\/p>\n From The Comedy of Errors<\/h3>\n Adriana derives from the Latin place name Hadria. It is warm, melodic, and feels both classical and approachable.<\/p>\n <\/p>\n The fierce, loyal lady of The Winter’s Tale<\/em> carries a name derived from the Roman family name Paulus, meaning “small.” Paulina herself is anything but small in character, and the name has her strength.<\/p>\n <\/p>\n Adriana’s sister in The Comedy of Errors<\/em>Luciana comes from the Latin lux<\/em>meaning “light.” It is musical and underused, with Luci or Luce as natural nicknames.<\/p>\n <\/p>\n The young prince of The Winter’s Tale<\/em> carries a name Shakespeare likely invented from the Latin flos<\/em>meaning “flower.” It is flamboyant and rare, a genuine outlier name.<\/p>\n <\/p>\n The loyal lord in The Winter’s Tale<\/em> carries an Italian name of Etruscan origin, possibly related to a young ceremonial attendant. It has an easy Italian warmth and the nickname Cami or Cam.<\/p>\n <\/p>\n The honest old counselor in The Tempest<\/em> carries a Spanish name derived from the Germanic Gundisalvus<\/em>meaning “battle genius.” It is uncommon in English-speaking countries and carries a wonderful depth.<\/p>\n <\/p>\n The twin heroes of The Comedy of Errors<\/em> are both named Antipholus, from the Greek. It is an extreme choice, best as a middle name, but it is genuinely Shakespearean and genuinely unusual.<\/p>\n <\/p>\n Start with the character, not just the name. Shakespeare names carry the weight of their characters, and it is worth spending a few minutes with the play before committing. Ophelia is gorgeous, but if the tragic associations feel too heavy, Viola or Rosalind carry similar literary beauty with lighter baggage.<\/p>\n Think about the sound alongside the story. Some of these names are long and theatrical: Desdemona, Antipholus, Mercutio. Others are compact and easy: Puck, Ariel, Robin. A longer surname often pairs better with a shorter Shakespeare name, and vice versa. Say it out loud ten times before deciding.<\/p>\n Consider how the name will age. Miranda and Cordelia feel equally at home on a baby and a CEO. Puck and Caliban feel like a statement at every stage of life, which is either a feature or a problem depending on your outlook. The history-play names like Edmund, Henry, and Margaret tend to be the most versatile across decades and contexts.<\/p>\n Finally, lean into the obscurity if that is what draws you. The plays are full of names most people have never heard spoken aloud, and that is exactly their appeal. A child named Perdita or Florizel will spend a lifetime explaining the reference, and that can be a gift rather than a burden.<\/p>\n Shakespeare spent a career finding the exact right word for every moment. Borrowing one of his names is not just a literary gesture. it is following his example: choosing language that carries more meaning than it first appears to hold.<\/p>\n","protected":false},"excerpt":{"rendered":" Shakespeare names have a way of feeling simultaneously ancient and completely fresh.<\/p>\n","protected":false},"author":5,"featured_media":543,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"lfe_reviewer":"","footnotes":""},"categories":[2],"tags":[4,191],"class_list":["post-544","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-baby-name-lists","tag-baby-name-lists","tag-shakespeare-names"],"_links":{"self":[{"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/posts\/544","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/comments?post=544"}],"version-history":[{"count":1,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/posts\/544\/revisions"}],"predecessor-version":[{"id":545,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/posts\/544\/revisions\/545"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/media\/543"}],"wp:attachment":[{"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/media?parent=544"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/categories?post=544"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ponly.com\/names\/wp-json\/wp\/v2\/tags?post=544"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Viola<\/h3>\n
Rosalind<\/h3>\n
Miranda<\/h3>\n
Portia<\/h3>\n
Cordelia<\/h3>\n
Beatrice<\/h3>\n
Helena<\/h3>\n
Hermia<\/h3>\n
Imogen<\/h3>\n
Titania<\/h3>\n
Cressida<\/h3>\n
Perdita<\/h3>\n
Marina<\/h3>\n
Olivia<\/h3>\n
Silvia<\/h3>\n
Nerissa<\/h3>\n
Jessica<\/h3>\n
Ophelia<\/h3>\n
Desdemona<\/h3>\n
Shakespeare Names for Boys: The Heroes and Villains<\/h2>\n
Romeo<\/h3>\n
Hamlet<\/h3>\n
Oberon<\/h3>\n
Lysander<\/h3>\n
Benedick<\/h3>\n
Iago<\/h3>\n
Prospero<\/h3>\n
Puck<\/h3>\n
Orlando<\/h3>\n
Claudio<\/h3>\n
Leontes<\/h3>\n
Pericles<\/h3>\n
Ariel<\/h3>\n
Caliban<\/h3>\n
Demetrius<\/h3>\n
Balthazar<\/h3>\n
Horatio<\/h3>\n
Mercutio<\/h3>\n
Bertram<\/h3>\n
Lucentio<\/h3>\n
Shakespeare Names That Cross Genders<\/h2>\n
Phoebe<\/h3>\n
Robin<\/h3>\n
Shakespeare Names from the History Plays<\/h2>\n
Henry<\/h3>\n
Richard<\/h3>\n
Edmund<\/h3>\n
Clarence<\/h3>\n
Margaret<\/h3>\n
Eleanor<\/h3>\n
Philip<\/h3>\n
Lesser-Known Shakespeare Names Worth Discovering<\/h2>\n
Lavinia<\/h3>\n
Adriana<\/h3>\n
Paulina<\/h3>\n
Luciana<\/h3>\n
Florizel<\/h3>\n
Camillo<\/h3>\n
Gonzalo<\/h3>\n
Antipholus<\/h3>\n
How to Choose a Shakespeare Name for Your Baby<\/h2>\n