ABSTRACT
The patterns that are revealed by the vagaries of the lovers’ relationships in the early comedies we shall see repeated in the later ones, but we shall also find, in the sexual ambiguities of As You Like It and Twelfth Night, in the deeper psychological and emotional complexities of Much Ado About Nothing, in the rhetoric of Measure for Measure and All’s Well that Ends Well, in the darker dramas of The Winter’s Tale, Cymbeline and Pericles, further patterns and contrasts and further examples of the power of T as an emotional and rhetorical marker.
