Shakespeare's visionary women, usually confined to the periphery, claim centre stage to voice their sleeping and waking dreams. These women recount their visions through acts of rhetoric, designed to persuade and, crucially, to directly intervene in political action. The visions discussed in this Element are therefore not simply moments of inspiration but of political intercession. The vision performed or recounted on stage offers a proleptic moment of female speech that forces audiences to confront questions of narrative truth and women's testimony. This Element interrogates the scepticism that Shakespeare's visionary women face and considers the ways in which they perform the truth of their experiences to a hostile onstage audience. It concludes that prophecy gives women a brief moment of access to political conversations in which they are not welcome as they wrest narrative control from male speakers and speak their truth aloud.

Women of Will is a fierce and funny exploration of Shakespeare’s understanding of the feminine. Tina Packer, one of our foremost Shakespeare experts, shows that Shakespeare began, in his early comedies, by writing women as shrews to be tamed or as sweet little things with no independence of thought. The women of the history plays are much more interesting, beginning with Joan of Arc. Then, with the extraordinary Juliet, there is a dramatic shift: suddenly Shakespeare’s women have depth, motivation, and understanding of life more than equal to that of the men. As Shakespeare ceases to write women as predictable caricatures and starts writing them from the inside, his women become as dimensional, spirited, spiritual, active, and sexual as any of his male characters. Wondering if Shakespeare had fallen in love (Packer considers with whom, and what she may have been like), the author observes that from Juliet on, Shakespeare’s characters demonstrate that when women and men are equal in status and passion, they can—and do—change the world.

Delve into the often-overlooked lives and legacies of everyday women in Tudor and Stuart England. Owing to their privilege and social stature, much is known about the elite women of 16th- and 17th-century England. Historians know far less, however, about the everyday women from the middle and lower classes from the 1550s to 1650 who left behind only scattered bits and pieces of their lives. Born into a narrow class and gender hierarchy that placed women second to men in almost all regards, women from the poor and middling ranks had limited social and economic opportunities beyond what men and the church afforded them. Yet, as Theresa D. Kemp shows in this addition to the Daily Life through History series, many of these women, most of them illiterate by modern standards, found creative ways to assert agency and push back against social norms. In an era when William Shakespeare debuted his plays at the Globe Theatre in London, everyday English women were active in religious movements, wrote literature, and went to court to protest abuse at home. Ultimately, a close examination of the lives of these women reveals how instrumental they were in shaping English society during a transformative and dynamic period of British history.

This Element argues for the importance of extended reality as an innovative force that changes our understanding of theatre and Shakespeare. It shows how the inclusion of augmented and virtual realities in performance can reconfigure the senses of the experiencers, enabling them to engage with technology actively.

The Infinite Monkey Theorem is an idea frequently encountered in mass market science books, discourse on Intelligent Design, and debates on the merits of writing produced by chatbots. According to the Theorem, an infinite number of typing monkeys will eventually generate the works of Shakespeare. Shakespeare and Nonhuman Intelligence is a metaphysical analysis of the Bard's function in the Theorem in various contexts over the past century. Beginning with early-twentieth century astrophysics and ending with twenty-first century AI, it traces the emergence of Shakespeare as the embattled figure of writing in the age of machine learning, bioinformatics, and other alleged crimes against the human organism. In an argument that pays close attention to computer programs that instantiate the Theorem, including one by biologist Richard Dawkins, and to references in publications on Intelligent Design, it contends that Shakespeare performs as an interface between the human and our Others: animal, god, machine.