"A classic in the field; in fact, it has the field to itself. Every scholar in Shakespeare studies knows about this volume."--William Carroll, author of *The Metamorphoses of Shakespearean Comedy*
I am certain that this book does indeed have the field to itself; and the assertion that every scholar in Shakespeare studies knows about this volume is probably no exaggeration either. This is a truly excellent publication, and it can safely be said that every serious scholar in Shakespeare studies SHOULD know it. The book has a final section on the writing of a research paper which is very sound and helpful, but the bulk of the material is, quite rightly, concerned with the task of guiding anyone who wants to get a good idea of what kind of thing has already been said about Shakespeare by scholars who, whether "right" or "wrong", have made a substantial contribution in their work on the author. Obviously there is a real difficulty deciding what should be included in a book of this nature, but the selection has been wisely made. Very sensibly, there is no over-emphasis on what is recent. Thus S.T. Coleridge, for example, who remains one of the most important of the early commentators, is included, but so is e.g. Stephen Greenblatt, who is among the best-known modern ones. It is striking, too, how objective, accurate, and clear the authors are in their descriptions of what scholars have to say. This is no mean feat, since they are dealing with a very wide range of material, and include authors whom many would not be nearly so objective and factual about. As for the fact that the book is now a few years old: that is no reason for not buying it. After all, the few years NOT covered are only a very short span in the wider scheme of things, and it is certainly possible to find out about more recent publications by consulting e.g. reviews in *Shakespeare Quarterly*. At the least, this guide will direct one to the more important publications until the time of publication, and it is possible to decide from the descriptions supplied whether or not an item discussed here is likely to supply one's need. The book thus saves one a good deal of time as well as informing one about major statements and trends in Shakespeare scholarship; it is an essential tool for anyone doing serious work on the author - certainly if not a beginner, though even a beginner willl find the book accessible and informative enough to be of use. - Joost Daalder, Professor of English, Flinders University (South Australia)

Although this book is out-of-print, taking the trouble to find it will be worth it. Charles Lamb gives concise summaries of the plots of three Shakespearean plays: Romeo & Juliet, The Tempest, and A Midsummer Night's Dream. There are a few big words, so it is best to read this book along with children, but the stories are short and exciting enough to hold attention. In addition, the illustrations by Judy Mastrangelo are some of the most beautiful I have ever seen. Shakespeare himself would have been proud.

"The book is an amazing introduction to the Bard, his works and environment...a way to overcome literacy and dramatic stage fright that can open many doors..."

R. Thad Taylor, President Shakespeare Society of America, Inc.

The Friedmans are two of the greatest figures in cryptographic history. In this book they demolish the claims of those who argue that the immortal works of Shakespeare were carefully written or printed to hide secret messages, most notably that someone other than Shakespeare wrote the works attributed to him. (In fact, the Friedmans met while working for one such crackpot; see David Kahn's _The Codebreakers_ for the story.) They do this with unfailing wit and good humor, and this book is fun to read as well as educational.

Alas, human nature being what it is, the book has not put an end to the bogus claims. People are still coming up with alleged ciphers that churn out endless strings of gibberish, substrings of which are chosen--easy enough to find when you allow thousands of variant spellings, backwards occurrences, tossing out inconvenient letters as alleged nulls or errors, and fudging the application of your cipher when it proves convenient--as evidence of a secret author of the works of Shakespeare endlessly hiding his name in the plays and poetry. Like urban legends, conspiracy theories, and the poor, what Kahn calls "the pathology of cryptology" evidently is always with us.

This book should be in print, ready for keen students of Shakespeare to buy. I have a reprint by Dover, which I bought in 1967 and have intensively used; it is still in very good edition, after all those years, and was very cheap when I bought it. An enterprising publisher should do something similar at *this* time! Although Abbott wrote the book well over a century ago, it has not actually dated, but remains the one Shakespeare Grammar used by virtually all scholars and editors for guidance on the subject, and to refer other readers to. The language used by Abbott is not too technical to make his work accessible to university students, as well, though unfortunately these days few people study any kind of grammar. The book does NOT, as one might hope, offer interpretations of all the passages in Shakespeare which are notably difficult because of their grammar/syntax. It DOES, however, very well explain which grammatical features of Elizabethan English differ from our own; why those differences matter; and why we are sure to understand Shakespeare far better if we are aware of them. The material is very well arranged, in clearly identifiable paragraphs. Anyone who bothers to read the book right through will certainly come to understand Shakespeare much better as a result, though most readers will use this guide for reference only, and still benefit. There is also a good and useful section on prosody at the end of the book. Very much worth buying if you can get it, in whatever decent shape; and should be an essential part of any library containing books on Shakespeare. There is, in fact, no competitor or alternative. - Joost Daalder, Professor of English, Flinders University (South Australia)

'Shame in Shakespeare discovers at the heart of the great tragedies a confrontation with the most complex and disconcerting of human emotions. This groundbreaking study transforms one's understanding of works of which
one rarely expects to learn anything new. It does so not only because of the originality of its subject, but also because it owes nothing to modishness and everything to the critical acuity of its author.'

A provocative and intriguing read. Throw out all old notions about the Bard's portrayal of Shylock in the Merchant of Venice. Clearly the product of extensive research and intense thought. Should be required for any course on the play or Shakespeare generally, or for anyone who would pretend to speak on the subjects with authority.

Shylock is a name that conjures up many images , most of them unfavorable. He is perhaps Shakespeare's most controversial character and has presented a challenge to both audiences and performers over the centuries. John Gross has produced a very well written and thought provoking study of Shylock. Of value is the detailing of the changing view of him over the years which has gone from comic to evil to sympathetic. How various actors have presented him is also discussed. In the end a book with an appeal both historical and literary.

This is a fast, enjoyable read to learn what you don't know or can't remember about Shakespeare's craft. Relying heavily on specific examples, Widdicombe covers all the bases in a conversational mode. Wit and current references keep his voice immediate and accessible. Still his pages are packed with detailed information and explanations. While he leans heavily on Hamlet, Othello, the Henry plays, and Lear, he makes enough references to the others, with the exception of Romeo and Juliet, to be useful to all students and instructors.

The Sixty-Minute Shakespeare series is an ideal alternative for those who lack the time or resources to tackle the unabridged versions of the world's most widely read playwright. This smooth-flowing and carefully edited series works well for fully mounted productions, scene work in the classroom, and the study of Shakespeare's plays in general. While the language is condensed, the integrity of Shakespeare's writing is kept intact so students of the Bard can experience the thrill of the story as well as the beauty of the verse and prose.