- 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
While Lady Audley and Sir Michael are away, Alicia sneaks Robert and George into Lady Audley’s chambers so they can view the lady’s portrait. This scene is a pivotal point in the plot, because when George looks upon the portrait he realizes that Lady Audley is his supposedly dead wife, Helen Talboys. Notably, the artist interprets the very aspects that everyone else seems to adore about Lady Audley—her blue eyes, her blonde hair, her “pretty pouting mouth”—as “lurid” and sinister. The artist can see through the falsehood of Lady Audley’s appearance to her wicked personality underneath, just as another artist…