ABSTRACT
This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. Shakespeare's stage, so concerned with marriage as a form of nation-building and ego-consolidation, increasingly provides in contrast a series of spectacular examples of spaces which might theoretically house women, showing audiences how kingdoms can be redrawn, the dead returned to life, profligate sons redeemed, and wayward sons punished when daughters are relocated. Over the course of Shakespeare's career, the love of a wife or daughter will offer the best measure of the space Shakespeare's stage articulates, its maps frequently indexing how freely women can range there or safely secret themselves, and not be entirely lost. Jamestown cartography makes use of the same thinking that empires can be built or renounced through the ability to position daughters, drawing on awareness of Shakespeare's stage as a tool to reflect how well daughters can be accessed and recalled, or protected and restricted like Hermione and Perdita.
