- 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
With these words, Steinbeck concludes Chapter 2, which is essentially an examination of vice, virtue, and happiness. When he writes, “Our Father who art in nature,” he alters a prayer commonly known as The Lord’s Prayer, which comes from The New Testament’s Gospel of Matthew. The original prayer begins: “Our Father who art in heaven […].” By substituting the word “heaven” for the word “nature,” Steinbeck invests himself in a certain kind of corporeal and organic spirituality, one that prizes the natural world above all else. Given that Steinbeck has already made it clear that Mack and “the boys” are…