Shakespeare’s Folktale Sources examines how Shakespeare adapted folktales for one or more plots in seven of his plays. When we acknowledge that Shakespeare constructed his plays from traditional stories with wide written and oral circulation, we can see how he used his folktale sources to engage his audience on common ground.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today's audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and stories crowd Shakespeare's plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare's spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.

Taking cross-disciplinary and comparative approaches to the volume’s subject, this exciting collection of essays offers a reassessment of Shakespeare’s erotic and Ovidian mythology within classical and continental aesthetic contexts. Through extensive examination of mythological visual and textual material, scholars explore the transmission and reinvention of Ovidian eroticism in Shakespeare’s plays to show how early modern artists and audiences collectively engaged in redefining ways of thinking pleasure. Within the collection’s broad-ranging investigation of erotic mythology in Renaissance culture, each chapter analyses specific instances of textual and pictorial transmission, reception, and adaptation. Through various critical strategies, contributors trace Shakespeare’s use of erotic material to map out the politics and aesthetics of pleasure, unravelling the ways in which mythology informs artistic creation. Received acceptions of neo-platonic love and the Petrarchan tensions of unattainable love are revisited, with a focus on parodic and darker strains of erotic desire, such as Priapic and Dionysian energies, lustful fantasy and violent eros. The dynamics of interacting tales is explored through their structural ability to adapt to the stage. Myth in Renaissance culture ultimately emerges not merely as near-inexhaustible source material for the Elizabethan and Jacobean arts, but as a creative process in and of itself.

This volume in the long-running and acclaimed Shakespeare Dictionary series is a detailed, critical reference work examining all aspects of magic, good and evil, across Shakespeare's works. Topics covered include the representation of fairies, witches, ghosts, devils and spirits.

Knowledge of plant names can give insight into largely forgotten beliefs. For example, the common red poppy is known as "Blind Man" due to an old superstitious belief that if the poppy were put to the eyes it would cause blindness. Many plant names derived from superstition, folk lore, or primal beliefs. Other names are purely descriptive and can serve to explain the meaning of the botanical name. For example, Beauty-Berry is the name given to the American shrub that belongs to the genus Callicarpa. Callicarpa is Greek for beautiful fruit. Still other names come from literary sources providing rich detail of the transmission of words through the ages.Conceived as part of the author's wider interest in plant and tree lore and ethnobotanical studies, this fully revised edition of Elsevier's Dictionary of Plant Names and Their Origins contains over 30,000 vernacular and literary English names of plants. Wild and cultivated plants alike are identified by the botanical name. Further detail provides a brief account of the meaning of the name and detailed commentary on common usage.* Includes color images * Inclusive of all Latin terms with vernacular derivatives * The most comprehensive guide for plant scientists, linguists, botanists, and historians

Tolkien and Shakespeare: one a prolific popular dramatist and poet of the Elizabethan era, the other a twentieth-century scholar of Old English and author of a considerably smaller body of work. Though unquestionably very different writers, the two have more in common than one might expect. These essays focus on the broad themes and motifs which concerned both authors. They seek to uncover Shakespeare's influence on Tolkien through echoes of the playwright's themes and even word choices, discovering how Tolkien used, revised, updated, "corrected," and otherwise held an ongoing dialogue with Shakespeare's works. The depiction of Elves and the world of Faerie, and how humans interact with them, are some of the most obvious points of comparison and difference for the two writers. Both Tolkien and Shakespeare deeply explored the uses and abuses of power with princes, politics, war, and the lessons of history. Magic and prophecy were also of great concern to both authors, and the works of both are full of encounters with the Other: masks and disguises, mirrors that hide and reveal, or seeing stones that show only part of the truth.

This book is the first collection of research in English devoted to interpretations of Shakespeare’s works in all three Baltic countries, using historical, structural and comparative analysis. The purpose of this edited collection, written by leading Shakespeare researchers in the Baltics, is to introduce international readers to the unique experience of Baltic theatre, to analyse the importance of Shakespeare’s appropriation during the process of development of Baltic national culture, and to highlight the key tendencies and personalities involved in this process. This book will provide rich informative and analytical material for students, teachers, lecturers and researchers of Shakespeare, as well as theatre theoreticians and practitioners.