- 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, Abigail agrees to join the convent under false pretenses, further underscoring the role hypocrisy plays in religion not only within the context of the play but in broader European society as well. Like her father, Abigail is Jewish, and she has no desire to actually convert to Christianity and join the convent. To execute her father’s plan, Abigail will have to “dissemble,” which is to say she will have to do some serious acting in order to conceal her true intentions.
While it is Abigail’s turn to “dissemble” here, it is Barabas who spends most of the play acting…