For this updated edition of one of Shakespeare's most problematic plays, Tom Lockwood has added a new introductory section on the latest scholarly trends, performance and adaptation practices which have occurred over the last two decades. Investigating the latest critical frames through which the play has been interpreted, the updated introduction also focuses on recent international performances on stage and screen (including Al Pacino's performances on film and in Daniel Sullivan's production in New York, the Habima National Theatre's production for the Globe to Globe Festival, Jonathan Munby's touring production for the Globe performed in London, New York and Venice, and Rupert Goold's production for the Royal Shakespeare Company). Finally, new forms of adaptation are considered: a performance transposed to the different generic mode of a New York auction room, and the remaking of the play in Howard Jacobson's 2016 novel, Shylock Is my Name.

`Professor Mahood's book has established itself as a classic in the field, not so much because of the ingenuity with which she reads Shakespeare's quibbles, but because her elucidation of pun and wordplay is intelligently related both to textual readings and dramatic significance.' - Revue des Langues Vivantes

For centuries, poets have been ensnared - as one of their number, Andrew Marvell put it - by the beauty of flowers. Then, from the middle of the eighteenth century onward, that enjoyment was enriched by a surge of popular interest in botany. Besides exploring the relationship between poetic and scientific responses to the green world within the context of humanity's changing concepts of its own place in the ecosphere, Molly Mahood considers the part that flowering plants played in the daily lives and therefore in the literary work of a number of writers who could all be called poet-botanists: Erasmus Darwin, George Crabbe, John Clare, John Ruskin and D. H. Lawrence. A concluding chapter looks closely at the meanings, old or new, that plants retained or obtained in the violent twentieth century.

Playing Bit Parts in Shakespeare is a unique survey of the small supporting roles - such as foils, feeds, attendants and messengers - that feature in Shakespeare's plays. Exploring such issues as how bit players should conduct themselves within a scene, and how blank verse or prose may be spoken to bring out the complexities of character-definition, Playing Bit Parts in Shakespeare brings a wealth of insights to the dynamic of scenic construction in Shakespeare's dramaturgy. M.M. Mahood explores the different functions of minimal characters, from clearing the stage to epitomizing the overall effect of the comedy or tragedy, and looks at how they can extend the audience's knowledge of the social world of the play. She goes on to describe the entire corpus of minimal roles in a selection of six plays: * Richard III * The Tempest * King Lear * Antony & Cleopatra * Measure for Measure * Julius Caesar This new edition comes enhanced with a new Appendix, 'Who Says What', especially designed to aid directors in making decisions about the speaking parts of the minimal characters. It also comes complete with an index of characters (including line references) as well as a detailed general index. An invaluable aid for directors and actors in the rehearsal room, this perceptive and informative volume is equally of interest to students studying and writing about Shakespeare's plays.

Professor Mahood's book has established itself as a classic in the field, not so much because of the ingenuity with which she reads Shakespeare's quibbles, but because her elucidation of pun and wordplay is intelligently related both to textual readings and dramatic significance.' - Revue des Langues Vivantes

This is a survey of the small supporting roles, such as foils, feeds, attendants and messengers, that feature in Shakespeare's plays. Exploring topics such as how bit players should conduct themselves within a scene, and how blank verse or prose may be spoken to bring out the complexities of character definition, the book aims to bring insights to the dynamic of scenic construction in Shakespeare's work.;The author explores the different functions of minimal characters, from clearing the stage to epitomizing the overall effect of the comedy or tragedy, and discusses how they can extend the audience's knowledge of the social world of the play. She goes on to describe the entire corpus of minimal roles in a selection of six plays: "Richard III", "The Tempest", "King Lear", "Antony & Cleopatra", "Measure for Measure" and "Julius Caesar".;This edition has an appendix designed to aid directors in making decisions about the speaking parts of the minimal characters. It also includes an index of characters (including line references), as well as a detailed general index.

For this updated edition of one of Shakespeare's most problematic plays, Tom Lockwood has added a new introductory section on the latest scholarly trends, performance and adaptation practices which have occurred over the last two decades. Investigating the latest critical frames through which the play has been interpreted, the updated introduction also focuses on recent international performances on stage and screen (including Al Pacino's performances on film and in Daniel Sullivan's production in New York, the Habima National Theatre's production for the Globe to Globe Festival, Jonathan Munby's touring production for the Globe performed in London, New York and Venice, and Rupert Goold's production for the Royal Shakespeare Company). Finally, new forms of adaptation are considered: a performance transposed to the different generic mode of a New York auction room, and the remaking of the play in Howard Jacobson's 2016 novel, Shylock Is my Name.

Separated from her twin brother Sebastian after a shipwreck, Viola disguises herself as a boy to serve the Duke of Illyria. Wooing a countess on his behalf, she is stunned to find herself the object of his beloved's affections. With the arrival of Viola's brother, and a trick played upon the countess's steward, confusion reigns in this romantic comedy of mistaken identity.

The seventeenth-century poets are almost without exception men of the world: their poetry is full of sensuous, scientific, and mundane images. But they are also religious men, fully aware of man's paradoxical situation between Heaven and earth. What these poets accomplish, Professor Mahood shows here, is a reintegration of the strands of humanism, a conscious re-orientation that restores the balance between God, man, and nature. In interlocking chapters, the author discusses Herbert's poetry, Donne's poems and sermons, Milton's epics, Marlowe's tragic heroes, and Vaughan's "symphony of nature." She shows how each of these writers struggled in his own way with the question of freedom and the concept of the hero, dealing with the growing tensions between eternity and time, spirit and sense. Through a close reading of their ideas and imagery, she explores their unique achievement: the synthesis of the medieval world-view and the discoveries of the Renaissance. Poetry and Humanism is a book, the Times Literary Supplement says, that is "always stimulating and often wise, and makes valuable comment not only on the thought of the seventeenth century but on that of our own."

For centuries, poets have been ensnared - as one of their number, Andrew Marvell put it - by the beauty of flowers. Then, from the middle of the eighteenth century onward, that enjoyment was enriched by a surge of popular interest in botany. Besides exploring the relationship between poetic and scientific responses to the green world within the context of humanity's changing concepts of its own place in the ecosphere, Molly Mahood considers the part that flowering plants played in the daily lives and therefore in the literary work of a number of writers who could all be called poet-botanists: Erasmus Darwin, George Crabbe, John Clare, John Ruskin and D. H. Lawrence. A concluding chapter looks closely at the meanings, old or new, that plants retained or obtained in the violent twentieth century.

Charles Edelman focuses on the play's sexual politics and recent scholarship devoted to the position of Jews in Shakespeare's time in this new edition. He surveys the international scope of theatrical interpretations of The Merchant in the 1980s and 1990s as well as different ways of tackling the troubling figure of Shylock. First Edition Hb (1988): 0-521-22156-0 First Edition Pb (1988): 0-521-29371-5