- 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
This passage takes place during Raleigh and Osborne’s initial conversation about the war, when Raleigh arrives in the dugout for the first time. What becomes clear is that they are well-suited to one another, often agreeing about the peculiarities of war—a dynamic that runs throughout the play. Indeed, Osborne can almost be seen as something like an older version of Raleigh, and so he helps Raleigh conceptualize what it’s like to exist in combat locations. When Raleigh says that the “quiet” of the battlefield is unnerving, Osborne helps him see that this is exactly what it’s like to be at…