- 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
Marc is so self-absorbed, so consumed by his ego, so convinced of the veracity of his opinions that he cannot imagine that anyone could love the Antrios. Though Serge—and Yvan—have repeatedly professed their genuine love of and connection to the painting, Marc has continued to condescendingly berate it as an object of pretension and a symbol of the dulling or deterioration of his friends’ opinions and ideals. Serge tells Marc, in this passage, that he is genuinely hurt by Marc’s “inflexibility” and “disgusting assumptions,” but even in the face of this genuine emotional plea, Marc remains staunch, detached, and cruel…