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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 of Venice, Corrine S. Abate  "Mislike Me Not for My Complexion": Whose Mislike? Shakespeare's? That of the Age? R. W. Desai  The Merchant of Venice and the Politics of Commerce, Karoline Szatek  Names in The Merchant of Venice, Grace Tiffany  Singing Chords: Performing Shylock and Other Characters in The Merchant of 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