- 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 passage distinguishes between two types of American stereotypes about Indians: the stereotypes of popular culture and the stereotypes of real life. King argues that popular culture stereotypes are “savage, noble, and dying Indians,” referring back to his analysis of Indians in film in Chapter 2.
While these Indians reflect and reaffirm some of American society’s bigoted views, they differ from the Indians that exist in real life, which are “Dead Indians, Live Indians, and Legal Indians.” These labels show how White America interacts with modern-day Indians because of its inaccurate, misinformed stereotypes. Dead Indians are the stereotypical renderings of…