- 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
Just before this passage, the narrator hypothetically asks who Sarah is and where she comes from, and then admits that he doesn’t know the answers to these questions. This is the first moment when the novel becomes truly metafictional, meaning that it is aware of itself as a construction of a person’s mind, and thus also becomes distinctly postmodern. The narrator essentially “comes clean,” admitting that the story he’s telling isn’t actually true, even though he’s writing as though it is. Furthermore, he acknowledges that he’s imitating the Victorian writing style, though he himself isn’t a Victorian. Ironically, this passage—in…