02758cam a22003493u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000070011910000380012624500280016426400510019230000470024333600260029033700260031633800360034250000810037850000310045950801950049052014620068553400570214765300510220465300190225585600720227485600430234699900190238978148UtSlPG20260610134818.0mcr n260607r20261910utu|||||o|||||||||||||| d  a17028256  aUtSlPG 7aen2iso639-1 4aPR1 aTrader, George Henry,d1865?-195110aShakespeare's daughters 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  a"In which appear as many of Shakespeare's female characters as practicable."  aRelease date is 2026-03-08  aCharlene Taylor, Eleni Christofaki and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)  aShakespeare's daughters by George Henry Trader is a one-scene theatrical fantasy written in the early 20th century. The piece gathers Shakespeare’s heroines into a shared glade to talk, console, and advise one another, ultimately turning into a homage to their creator. The likely topic is a playful yet poignant meditation on love, identity, and suffering among Shakespeare’s female characters, culminating in a collective tribute to Shakespeare himself.

In a woodland glade, Rosalind, Portia, Viola, and Imogen banter about disguise, modesty, and the art of managing men, when Juliet bursts in with girlish excitement over an upcoming ball. Beatrice arrives to tutor Desdemona in marriage’s sober arts, while Lady Macbeth watches with hard pragmatism. Ophelia, clutching Hamlet’s letters, pours out her confusion and grief; Cordelia, mute with her own filial sorrow, kneels for mutual comfort. Regan intrudes to announce that Polonius has been murdered—by Hamlet—shattering Ophelia, who drifts away to “gather flowers” by the river. After Cordelia, at last, finds tears, the scene turns meta-theatrical: the actress steps forward to address the audience, and a pantomime follows in which Titania and fairies reveal a sleeping Shakespeare. The assembled heroines offer flowers and reverence; Shakespeare awakens, blesses his “children of dreams,” and withdraws as music closes the tribute. (This is an automatically generated summary.)  pOriginally published:cNew York: Samuel French, 1910  aShakespeare, William, 1564-1616 -- Adaptations  aWomen -- Drama4 uhttps://archive.org/details/shakespearesdaug00trad/page/n3/mode/2up40uhttps://www.gutenberg.org/ebooks/78148  c118868d118868