In his seminal work Action Is Eloquence: Shakespeares Language of Gesture (1984), David Bevington coins the term the notion of correspondences to describe the visual moral association at work in many of Shakespeares characters. According to this concept, the way a character looks should reflect that characters inner state; therefore, if a character is physically unusual in the world of the play, then that character has been marked as spiritually corrupt evilby God. This thesis examines how this notion operates in three important works of the early modern period: Titus Andronicus (1587), The Changeling (1622), and Paradise Lost (1674). While all of these works ultimately reinforce the notion of correspondences, all three include episodes which threaten to subvert this association. These incidents are crucial in making the works both morally challenging and entertaining for their respective audiences.