- 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
The first time that Ellsworth Toohey makes his appearance in the pages of The Fountainhead, it is as a disembodied voice speaking at a gathering supporting a strike. His listeners—including Peter Keating—are entranced by his voice, which is the “voice of a giant.” In contrast to Roark, who is always clear and rational when he speaks, Toohey’s speech is emotionally charged and the actual meaning of his words seem unimportant. He addresses his listeners as “friends” and “brothers” in a voice “full of emotion.” This suggests that Toohey is a demagogue who relies on sentiment rather than on rational…