- 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
Even as Jordan struggles with the simultaneous disgust and pleasure he feels in killing, he tells himself not to “believe” in killing, fearful that “believing” in it may harden him—causing him to become corrupt, bitter, and immoral. Yet again, Jordan vacillates between a number of different emotions, all the while attempting to keep himself in check: to force himself to be stoic, impassive, and focused on military duty. Still, he is both curious and horrified by the murders he has committed, and anxious that many of these may not have been “real fascists”—and thus unjustified. Jordan’s inner monologues reflect the…