OXFORD, England — Twitter has been taunting us: When he was in quarantine from the plague, William Shakespeare wrote “King Lear.” He had an advantage, of sorts: Shakespeare’s life was marked by plague. Just weeks after his baptism at Holy Trinity Church in Stratford–upon–Avon in 1564, the register read, “Hic incepit pestis” (Here begins the plague). Mortality rates in the town were four times that of the previous, plague–free year. Shakespeare, the son of the town’s glover, survived it and many further outbreaks. Much of his work was composed, if not in lockdown, then in the shadow of a highly infectious disease without a known cure. While the theatres were closed for an epidemic in 1592–3, the fledgling playwright produced his hugely successful narrative poems “Venus and Adonis” (a piece of beautiful erotica in which the goddess Venus throws herself at the unwilling Adonis) and “The Rape of Lucrece” (a queasily voyeuristic poem about sexual assault). Again in 1603–4, when plague prevented the coronation celebrations for the new king, James I, and one in five Londoners succumbed to the disease, Shakespeare was probably writing his study of civic corruption, “Measure for Measure.” In the plague outbreak of the summer of 1606, Shakespeare may well have been working on “King Lear," given that the tragedy’s first performance was at the Palace of Whitehall, the main London residence of Tudor and Stuart English monarchs, “on St Stephen’s night in Christmas holidays” the same year. The impact of the disease on the play, though, is oblique. There are references to plague which have lost their specificity over time, but which must then have caused a shiver. Lear curses his daughter Regan and her husband Cornwall with “Vengeance, plague, death, confusion,” and berates her as “a plague–sore or embossed carbuncle / In my corrupted blood)” “Plague–sore” refers to the inflamed lymph glands that were such a feared symptom of the disease — it’s not something any parent should wish on their child) Perhaps the play’s particular violence on the younger generation allegorizes that of the plague itself: The disease was most rampant among those in their 20s and 30sShakespeare seems to have been able largely to shut out his immediate context. The plague is everywhere and nowhere in his work. In the language of “King Lear” and other plays it is ubiquitous — but otherwise it’s almost entirely absent. Men and women, to be sure, die in any number of inventive ways. In “Othello,” Desdemona is smothered in her bed) In “Titus Andronicus,” the rapists Chiron and Demetrius have their throats cut and are baked in pastry. John of Gaunt dies of old age exacerbated by the absence of his exiled son in “Richard II.” In “Hamlet,” Ophelia drowns. But no one in Shakespeare’s plays dies of the plague. Romeo and Juliet, who die because the friar’s letter is held up by quarantine measures in northern Italy, are the nearest his work comes to plague fatalities. Just as Shakespeare never set a play in contemporary London, neither did he address directly the most prominent cause of sudden death in his society. Documentary realism was not Shakespeare’s style.