- 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
As soon as Vittoria sees Brachiano, her entire demeanor changes—instead of being cold and contained, as she was with her husband Camillo, she now reddens with excitement. To Flamineo, this shift is a sign that women are fundamentally “cursed” and dishonest, capable of “hid[ing]” their lustful natures in the daytime only to reveal themselves “at midnight.” On the one hand, then, this passage illustrates the complex rules of sexuality that Renaissance women had to navigate: social norms (“civility”) demanded that they not express feelings of attraction or longing in public, yet society simultaneously expected women to be objects of desire…