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Scrutinizes Shakespeare's use of humanist pedagogical rhetoric and scenes in Tempest, which the author views as demonstrating "Shakespeare's most radical doubt about humanist education as magical art." Questions the roles of teacher and learner throughout the play, focusing on Prospero as the "arch-pedagogue on this island." Draws parallels between the play and the humanist education that Shakespeare would have had.

Uses passages from Joseph Hall's Arcades Ambo and the plays of Ben Jonson to claim that Edward de Vere wrote Shakespeare's works.

Claims that the anonymous 1594 King Leir and Shakespeare's King Lear were both written by Edward de Vere.

Describes scholarly reaction to Oxfordian theory of Shakespeare authorship. Provides brief overview of Oxfordian theory.

Compares Merchant of Venice to its source, Giovanni Fiorentino's Il Pecorone; examines Shakespeare's Portia next to Giovanni's Lady of Belmonte in terms of their changing agency throughout plays. Argues that Portia is granted more agency through Shakespeare's better use of dialogue.

Demonstrates various modes of Shakespeare's influence in and relationship with Scandinavia. Covers Swedish colleagues of Shakespeare, "heavily adapted" performances of Shakespeare in Scandinavia, changes in Swedish audience's response to melodrama and Shakespeare, "classicist influence" in Denmark and Danish translations, first Swedish translation of Macbeth, and Shakespeare's tercentenary in Denmark, Sweden, and Finland. Swedish summary, 108.

"Suggests that [Shakespeare's] late plays are better understood within the context of a profound shift in the expression and reproduction of knowledge" by showing "how the playwright uses the book as a devolved language of representation."

Describes and analyzes Décio Pignatari's translations of Shakespeare, Goethe, Dante, and Sheridan, collected in Retratos do Amor Quando Jovem [Portrait of Love when Young].

Argues that The Lion King is a well-made adaptation of Hamlet for children because of the complexity of its characters.

Chronicles Essex's relationship with the theater through patronage. Describes possible interaction between Essex and Shakespeare, while critiquing the idea that Shakespeare wrote events based on Essex's life into his plays.