''The Merry Wives of Windsor'' is a comic play by Creator/WilliamShakespeare.

Sir John Falstaff attempts to seduce two married ladies, Mistress Page and Mistress Ford; neither is impressed by him, and they conspire to subject him to a succession of practical jokes. A subplot concerns Mistress Page's daughter Anne, whose parents want her to marry, but can't agree on which of her suitors she should choose, while she herself prefers a man neither of her parents approves of.

Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''Theatre/HenryIVPart1'' and ''[[Theatre/HenryIVPart2 Part 2]]'', but here appears in a contemporary setting.

Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love," but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)

This appears to be one of the few plays for which Shakespeare came up with an original plot[[note]] along with ''Theatre/LovesLaboursLost'', ''Theatre/AMidsummerNightsDream'', and ''Theatre/TheTempest''[[/note]]. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams, and one, under the title of ''Falstaff'', by Giuseppe Verdi.
!!''The Merry Wives of Windsor'' provides examples of:

* AbhorrentAdmirer: Falstaff, Slender.
* ExactWords: "To Master Brook [i.e. Ford] you yet shall keep your word/For he tonight shall lie with Mistress Ford."
* FunetikAksent: Shakespeare writes out Hugh's Welsh accent and Doctor Caius's French accent.
* GettingCrapPastTheRadar: When Sir Hugh Evans teaches the boy William Page what the "''focative'' case" is, [[http://www.cracked.com/article_19271_8-filthy-jokes-hidden-in-ancient-works-art.html which is a play on the word "vocative" and the offending "f-word"]], according to Cracked.com.
* GracefulLoser: Falstaff happily accepts that he deserves his humiliation at the end.
* HumiliationConga: Falstaff's entire plotline is this.
* MistakenForCheating: Ford learns of Falstaff's intentions toward his wife, and spends part of the play believing that she reciprocates them.
* TheMusical: Or rather, The {{Opera}}. It was adapted by both [[https://en.wikipedia.org/wiki/Falstaff_(opera) Giuseppe Verdi]] and [[https://en.wikipedia.org/wiki/Falstaff_(Salieri) Antonio Salieri.]]
* PaperThinDisguise: Falstaff as the Witch of Brentford and Ford as Brook.
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff's HumiliationConga.
** CounterZany: In the denouement, the two preferred suitors discover they've eloped with decoy Annes while the real thing has eloped with ''her'' preferred suitor.