- 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
In one of the most stylistically innovative passages in the novel, Hemingway captures the feelings that Robert Jordan and Maria experience during sex—that they are going “nowhere,” except into the present. Hemingway’s rhythmic run-on sentences express the rhythms and sensations of sex, and also reflect the couple’s knowledge that they have only a few days to share with each other, given the danger they face. Robert Jordan and Maria must live “nowhere” but the present, and when the earth moves “out and away from under them,” they realize the power of their passion. War is itself an earth-shattering event, but…