- 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
Here, the narrator is debating whether Orlando is most a woman or a man, underscoring Woolf’s overreaching argument that the dichotomous male-versus-female understanding is merely a social construction, and that no one—be it a man or a woman—is entirely one gender or the other. Throughout the novel, clothing identifies one’s gender as male or female; however, the narrator claims that clothing is “but a symbol of something hid deep beneath,” which is to say that the gender one’s clothes reflects is often at odds with how one truly identifies. Orlando’s own change of gender is prompted by a change deep…