- 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, Oates explores and complicates Connie’s relationship to her own appearance. It’s clear that Connie understands that appearances can be deceptive, and intuitively behaves differently when at home with her family or out with her friends. This paragraph is striking for the intuitive way in which Connie seems to she different versions of herself; one is domestic and childlike, the other outgoing and social. This points to the fact that Connie is still in many ways an innocent young girl, and that her attempts to appear mature and seductive are, in a way, a sort of costume. Connie is also…