- 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
At the end of Chapter 10, Lewis offers a brief discussion of the traditional tropes of Heaven—clouds, harps, crowns, etc. As in Book Two (see quote above), Lewis argues that the Biblical imagery of Heaven isn’t meant to be taken literally. For example, the “crowns” that souls are said to wear in the afterlife aren’t really crowns at all; they represent the majesty and splendor with which virtuous souls are rewarded in Heaven.
The passage is notable because it reiterates one of Lewis’s key points: Christianity isn’t always meant to be taken literally, and therefore there is some inevitable ambiguity…