- 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
When Dana is in the past, her modern (and Californian) speech patterns and education as a writer come out in her conversations with the other slaves on the Weylin plantation. When Nigel comments on this difference, he calls it talking like “white folks,” automatically associating education, articulate speech, and confident self-expression with white people alone. Dana is actually distrusted by both the Weylins themselves and her fellow enslaved characters because she sounds so different than the average slave. The Weylins, like most whites of the time, believe that educated slaves are more likely to run away and cause rebellion among…