This dissertation explores the ways in which mirrors manifested and functioned on the
early modern English stage as a property. In an effort to recall human interaction with this
significant object, I rely primarily on original stage directions, focusing my analysis on those
dramatic instances in which the mirror was actively used. The mirror’s significance in the
early modern period stems from a radical shift in materiality with the innovation of glass
mirrors, a shift that defined not only an industry but also a self-conscious humanity.