As contributors to this volume prove, Shakespeare?s language of the self relies on descriptions of and reactions to facial expressions and features. An analysis of Shakespeare?s treatment of faces has implications for our understanding of the context in which he wrote, and for the ongoing interpretation and production of the plays. By bringing together historians, theorists of performance and critics interested in material culture and philosophies of self, this book makes a significant contribution to our understanding of attitudes towards embodiment in Shakespeare?s England.