LEADER 05574nam 2200709 a 450 001 9910812723503321 005 20230617010527.0 010 $a1-281-29436-5 010 $a9786611294366 010 $a1-84714-187-0 035 $a(CKB)1000000000405345 035 $a(EBL)436163 035 $a(OCoLC)232299938 035 $a(SSID)ssj0000201412 035 $a(PQKBManifestationID)12012158 035 $a(PQKBTitleCode)TC0000201412 035 $a(PQKBWorkID)10245510 035 $a(PQKB)10977198 035 $a(MiAaPQ)EBC436163 035 $a(Au-PeEL)EBL436163 035 $a(CaPaEBR)ebr10224835 035 $a(CaONFJC)MIL129436 035 $a(OCoLC)893333958 035 $a(EXLCZ)991000000000405345 100 $a20041201d2005 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 04$aThe merchant of Venice$b[electronic resource] /$fedited by William Baker and Brian Vickers 210 $aNew York $cThoemmes Continuum$d2005 215 $a1 online resource (480 p.) 225 1 $aShakespeare, the critical tradition 300 $aDescription based upon print version of record. 311 $a0-8264-7329-6 320 $aIncludes bibliographical references (p. 420-428) and index. 327 $aCONTENTS; ACKNOWLEDGEMENTS; GENERAL EDITOR'S PREFACE; INTRODUCTION; 1 On Macklin's Shylock, 1775; 2 An 'apology' for Shylock, 1796; 3 'One of Shakespeare's most perfect works', 1815; 4 Kean's debut as Shylock, 1816; 5 Sympathy for Shylock, but not for Portia, 1817; 6 The major sources, 1824; 7 In defence of Shylock, 1833; 8 Portia, 1833; 9 Shylock 'ill-used', 1838; 10 Shakespeare justifies'an unfortunate race', 1838; 11 Summa jus summa injuria, 1839; 12 Lessons of charity, 1849; 13 Shylock's humanity, 1850; 14 Shakespeare's evenhandedness, 1851; 15 Human rights and religious belief, 1856 327 $a16 Sympathetic liberality versus murderous avarice, 185617 In praise of Portia, 1859; 18 'A just estimate of things', 1862; 19 Shakespeare's love of justice, 1863; 20 'The relation of man to property', 1863; 21 Shylock 'the corrupted merchant', 1873; 22 Portia the central character, 1875; 23 Shylock 'the hero of the piece', 1877; 24 A Hegelian reading, 1877; 25 A plea for toleration, 1879; 26 Shylock: an actor's view, 1879; 27 Not a doctrinal play, 1879; 28 'Not about Jewish grievances', 1879; 29 Shylock's 'nobility and distinction', 1879; 30 Shylock 'a product of history', 1879 327 $a31 A sonnet to Portia, 187932 'The Lopez case' and Shakespeare's Jew, 1880; 33 A critique of Irving and Terry, 1881; 34 Shylock from a Jewish point of view, 1882; 35 An interview with Henry Irving, 1884; 36 Shakespeare's interweaving of plots, 1885; 37 On acting Portia, 1885; 38 Portia's womanliness, 1885; 39 Privileged Christian, proscribed Jew, 1885; 40 Staging the play, 1887; 41 Shylock's 'revengeful selfishness', 1888; 42 'The first of his [Shakespeare's] great comedies', 1888; 43 Shylock's character determined by the plot, 1894; 44 Shakespeare's concession to bigotry, 1896 327 $a45 Shylock 'a monster of passionate hatred, not avarice', 189846 Shylock and modern criticism, 1898; 47 'Two communities which meet but never mingle', 1900; 48 'Some faint sympathy' for Shylock, 1905; 49 Shylock 'a man of one idea', 1905; 50 Shylock's language, 1905; 51 Shylock more sinned against than sinning, 1907; 52 'Untrammelled' as against 'plot-ridden' characters, 1907; 53 The opposing principles of Love and Hate, 1908; 54 Shylock less sinned against than sinning, 1909; 55 Shakespeare's Jew and Marlowe's Christians, 1909; 56 Shylock a comic villain, 1911 327 $a57 Shylock and his interpreters, 191158 'Man is what man had made him', 1916; 59 Shakespeare's 'stage-cleverness' and the story's 'monstrous absurdity', 1916; 60 Shylock's anal-erotic tendencies, 1921; 61 Shylock not an authentic Jew, 1921; 62 Shylock's self-revelation in soliloquy, 1922; 63 Shakespeare's intentions and the dynamics of comedy, 1927; 64 The 'alien' question, 1929; 65 Shakespeare's attention to character and story, 1930; 66 Shylock the Venetian, 1933; 67 Antonio a depressive homosexual, 1934; 68 Shylock a London usurer, 1935; 69 The distribution of imagery within the play, 1935 327 $a70 The idea of riches, true and false, 1936 330 $aThe Merchant of Venice has always been regarded as one of Shakespeare's most interesting plays. Before the nineteenth century critical reaction is relatively fragmentary. However between then and the late twentieth century the critical tradition reveals the tremendous vitality of the play to evoke emotion in the theatre and in the study. Since the middle of the twentieth century reactions to the drama have been influenced by the Nazi destruction of European Jewry. The first volume to document the full tradition of criticism of The Merchant of Venice includes an extensive introduction which cha 410 0$aShakespeare, the critical tradition. 606 $aShylock (Fictitious character) 606 $aJews in literature 606 $aComedy 607 $aVenice (Italy)$xIn literature 615 0$aShylock (Fictitious character) 615 0$aJews in literature. 615 0$aComedy. 676 $a822.3/3 701 $aBaker$b William$f1944-$01626515 701 $aVickers$b Brian$0166398 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910812723503321 996 $aThe merchant of Venice$93978487 997 $aUNINA