- 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 explanation of Mary appears at the beginning of the play’s first act. O’Neill makes a point of calling attention to her “nervousness,” emphasizing the extent to which she appears unsettled and agitated. Of course, the audience will later learn that some of this “nervousness” has to do with the fact that she is yearning to relapse, though she hasn’t yet succumbed to her desire to take morphine. As such, she can’t manage to keep her hands “still,” constantly fidgeting with her “warped” fingers. O’Neill goes out of his way in this moment to spotlight the harsh effect time has…