Acknowledgments Contributors General Editor's Introduction Introduction, John W. Mahon and Ellen Macleod Mahon Shakespeare's Merchant and Marlowe's Other Play, Murray J. Levitch Jewish Daughters: The Question of Philo-Semitism in Elizabethan Drama, John Ozark Holmer Jessica, John Drakakis Textual Delivery in The Merchant of Venice, John F. Andrews Portia and the Ovidian Grotesque, John W. Velz Does Source-Criticism Illuminate the Problems of Interpreting The Merchant as a Soured Comedy? John K. Hale Shylock Is Content: A Study in Salvation, Hugh J. Short Isolation to Communion: A Reading of William Shakespeare's The Merchant of Venice, Maryellen Keefe The Less into the Greater: Emblem, Analogue, and Deification in The Merchant of Venice, John Cunningham and Stephen Slimp "Nerissa Teaches Me What to Believe": Portia's Wifely Empowerment in The Merchant ofVenice, Corrine S. Abate "Mislike Me Not for My Complexion": Whose Mislike? Shakespeare's? That of the Age? R. W. DesaiThe Merchant of Venice and the Politics of Commerce, Karoline Szatek Names in TheMerchant of Venice, Grace Tiffany Singing Chords: Performing Shylock and Other Characters in The Merchantof Venice, Jay L. Halio Making The Merchant of Venice Palatable for U.S. Audiences, Gayle Gaskill Shylock in Performance, John O'Connor Portia Performs: Playing the Role in the Twentieth-Century English Theater, Penny Gay