Conclusion

Abstract This chapter explores the place of Rosalind on the path to greater freedom and possibility for actual women, focusing on the poetry of Mary Wroth, and the stage and screen careers of Dora Jordan and Katharine Hepburn. The focus with Wroth is on furious responses to her poetry, and ways in which the style she forged have things in common with the critical dynamics explored around Rosalind. The discussion of Dora Jordan analyzes a musical entertainment called The Romp, that demonstrates a particular aspect of Rosalind’s inclination toward tyranny and violence. And the chapter ends with a discussion of Katharine Hepburn’s performance in an early film called Morning Glory, based on a play by Zoë Akins, in which Rosalind emerges as a vehicle of theatrical and cinematic power.