Much of Shakespeare’s drama is centrally concerned with men’s need to make choices in life and the necessity for taking full responsibility for the actions which result from these choices. One of the dramatic techniques he often uses to explore this aspect of the human condition is an interchange of roles between characters who are in some way parallel, owing to a similarity in situation, personality, action, or attitude. Thus Edgar can ‘represent’ Cordelia during the storm scenes in King Lear, so that she becomes, in a sense, the philosopher on the heath from whom her father learns life’s awful lessons. In a similar way, the lines of action open to Hamlet, but not followed by him, can be explored with their consequences in the persons of the other revenging sons, Laertes and Fortinbras. And the same device lies behind the handling of such different characters as Portia and Jessica, Viola and Sebastian, the twin Antipholi, Perdita and Hermione, and the pairs of lovers in As You Like It.