- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
As the Proposer prepares to unveil his plan, he places himself—perhaps unwillingly—in the company of “projectors.” This term describes a specific group of political writers who in the late 17th and early 18th centuries took to writing proposals for various “projects”—vast social programs and reforms, often overzealous and poorly conceived, that were meant to cure society of its ills. These projectors tended to base their proposals in crackpot demography and primitive statistical methods with little bearing on reality. The Proposer wants to distance himself from these methods—as he says, the projectors are “grossly mistaken in their computation.” However, as we…