Megan S. Lloyd is associate professor at King's College in Wilkes-Barre, PA.

The place of Wales in Shakespeare, and the place of Shakespeare in Wales, extends far beyond the setting of Cymbeline and the character of Glendower. Megan Lloyd, like Fluellen, offers a Welsh correction to an English condition—the condition of paying too little heed to England's neighbor nations. Lloyd is to be congratulated for bringing such clarity of purpose and critical acumen to discussion of the vital but vexed nature of Anglo-Welsh relations in the early modern period.'Speak It in Welsh' is a valuable contribution to current debates around colonial and national identities in Shakespeare and in Renaissance studies more generally. By examining the Welsh dimensions of Shakespeare alongside the work of his contemporaries, and establishing a detailed historical context for questions of language and identity, Lloyd makes a convincing case for the importance of Wales as a site of resistance, a source of rhetoric, and a staging post for idea about empire and union. All those interested in the politics of performance, and the ways in which issues of race and representation crisscross the drama, will find something to savour in this rich and rewarding study.

• Chapter 1 IntroductionChapter 2 Chapter 1: "To Speak Welsh": Nonsense and Subversion in Henry IV, Part IChapter 3 Chapter 2: "The Lady Speaks in Welsh": Lady Mortimer and Tudor Policy in Shakespeare's I Henry IVChapter 4 Chapter 3: "I cannot speak your England": Language, Britishness, and Shakespeare's HenriadChapter 5 Chapter 4: Acquiesce or Eat My Leek: Approaches to Assimilation in The Merry Wives of Windsor and Henry VChapter 6 Chapter 5: Location, Location, Location: Wales in CymbelineChapter 7 Chapter 6: Welsh "Noise" and Communicating Couples: Playing Welsh Language and Culture on StageChapter 8 Chapter 7: "Here the Lady Sings a Welsh Song": Shakespeare's Welsh Language in PerformanceChapter 9 Appendix A: The Welsh Language and the Welsh Character on StageChapter 10 Appendix B: A Note on Editions

Megan S. Lloyd is associate professor at King's College in Wilkes-Barre, PA.

The place of Wales in Shakespeare, and the place of Shakespeare in Wales, extends far beyond the setting of Cymbeline and the character of Glendower. Megan Lloyd, like Fluellen, offers a Welsh correction to an English condition—the condition of paying too little heed to England's neighbor nations. Lloyd is to be congratulated for bringing such clarity of purpose and critical acumen to discussion of the vital but vexed nature of Anglo-Welsh relations in the early modern period.'Speak It in Welsh' is a valuable contribution to current debates around colonial and national identities in Shakespeare and in Renaissance studies more generally. By examining the Welsh dimensions of Shakespeare alongside the work of his contemporaries, and establishing a detailed historical context for questions of language and identity, Lloyd makes a convincing case for the importance of Wales as a site of resistance, a source of rhetoric, and a staging post for idea about empire and union. All those interested in the politics of performance, and the ways in which issues of race and representation crisscross the drama, will find something to savour in this rich and rewarding study.

• Chapter 1 IntroductionChapter 2 Chapter 1: "To Speak Welsh": Nonsense and Subversion in Henry IV, Part IChapter 3 Chapter 2: "The Lady Speaks in Welsh": Lady Mortimer and Tudor Policy in Shakespeare's I Henry IVChapter 4 Chapter 3: "I cannot speak your England": Language, Britishness, and Shakespeare's HenriadChapter 5 Chapter 4: Acquiesce or Eat My Leek: Approaches to Assimilation in The Merry Wives of Windsor and Henry VChapter 6 Chapter 5: Location, Location, Location: Wales in CymbelineChapter 7 Chapter 6: Welsh "Noise" and Communicating Couples: Playing Welsh Language and Culture on StageChapter 8 Chapter 7: "Here the Lady Sings a Welsh Song": Shakespeare's Welsh Language in PerformanceChapter 9 Appendix A: The Welsh Language and the Welsh Character on StageChapter 10 Appendix B: A Note on Editions

Megan S. Lloyd is associate professor at King's College in Wilkes-Barre, PA.

The place of Wales in Shakespeare, and the place of Shakespeare in Wales, extends far beyond the setting of Cymbeline and the character of Glendower. Megan Lloyd, like Fluellen, offers a Welsh correction to an English condition—the condition of paying too little heed to England's neighbor nations. Lloyd is to be congratulated for bringing such clarity of purpose and critical acumen to discussion of the vital but vexed nature of Anglo-Welsh relations in the early modern period.'Speak It in Welsh' is a valuable contribution to current debates around colonial and national identities in Shakespeare and in Renaissance studies more generally. By examining the Welsh dimensions of Shakespeare alongside the work of his contemporaries, and establishing a detailed historical context for questions of language and identity, Lloyd makes a convincing case for the importance of Wales as a site of resistance, a source of rhetoric, and a staging post for idea about empire and union. All those interested in the politics of performance, and the ways in which issues of race and representation crisscross the drama, will find something to savour in this rich and rewarding study.

• Chapter 1 IntroductionChapter 2 Chapter 1: "To Speak Welsh": Nonsense and Subversion in Henry IV, Part IChapter 3 Chapter 2: "The Lady Speaks in Welsh": Lady Mortimer and Tudor Policy in Shakespeare's I Henry IVChapter 4 Chapter 3: "I cannot speak your England": Language, Britishness, and Shakespeare's HenriadChapter 5 Chapter 4: Acquiesce or Eat My Leek: Approaches to Assimilation in The Merry Wives of Windsor and Henry VChapter 6 Chapter 5: Location, Location, Location: Wales in CymbelineChapter 7 Chapter 6: Welsh "Noise" and Communicating Couples: Playing Welsh Language and Culture on StageChapter 8 Chapter 7: "Here the Lady Sings a Welsh Song": Shakespeare's Welsh Language in PerformanceChapter 9 Appendix A: The Welsh Language and the Welsh Character on StageChapter 10 Appendix B: A Note on Editions