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Shakespeare: An Overview | p. vii |
Biographical Sketch | p. vii |
A Note on the Anti-Stratfordians, Especially Baconians and Oxfordians | p. xi |
The Shakespeare Canon | p. xv |
Shakespeare's English | p. xviii |
Shakespeare's Theater | p. xxvi |
A Note on the Use of Boy Actors in Female Roles | p. xxxiii |
Shakespeare's Dramatic Language: Costumes, Gestures and Silences; Prose and Poetry | p. xxxvi |
The Play Text as a Collaboration | p. xliii |
Editing Texts | p. xlix |
Shakespeare on the Stage | p. liv |
Introduction | p. lxiii |
The Merchant of Venice | p. 1 |
Textual Note | p. 101 |
A Note on the Sources of The Merchant of Venice | p. 105 |
Commentaries | |
From The Works of Mr. William Shakespear | p. 109 |
From Characters of Shakespear's Plays | p. 110 |
Henry Irving's Shylock | p. 116 |
From Shylock | p. 121 |
The Avoidance of Choice: A Woman's Privilege | p. 137 |
The Fourth and Fifth Acts | p. 142 |
The End of The Merchant of Venice: Four Versions | p. 156 |
The Merchant of Venice on Stage and Screen | p. 160 |
Suggested References | p. 175 |
Table of Contents provided by Syndetics. All Rights Reserved. |
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The Merchant of Venice has been performed more often than any other comedy by Shakespeare. This edition pays special attention to the expectations of its first audience, and to our modern experience of seeing and hearing the play. Mahood explores Merchant's historical background, showing the play to be a blend of both romantic and urban contemporary comedy. She investigates the Englishman's myth of Venice, Elizabethan notions of equity, the position of Jews in society and attitudes toward them. An appendix discusses Shakespeare's familiarity with and use of Biblical allusion in the play. Mahood's introduction addresses the play's dramatic production and the way Shakespeare manipulates our response to character. A stage history, complete with photographs and drawings, shows how allegiances are altered in performance according to prevailing political or social trends.
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