Shakespeare and Wales offers a 'Welsh correction' to a long-standing deficiency. It brings together experts in the field from both sides of the Atlantic to establish a detailed historical context that illustrates the range and richness of Shakespeare's Welsh sources and resources, and confirms the degree to which Shakespeare continues to impact upon Welsh culture and identity.

Willy Maley, Professor of English Literature at the University of Glasgow, UK. Philip Schwyzer is Assistant Professor of English at the University of Exeter, UK.

Introduction A Welsh Correction, WillyMaley, PhilipSchwyzer; Chapter 1 1Parts of this chapter draw on material previously published in different form in Kate Chedgzoy, 'The Civility of Early Modern Welsh Women', in Jennifer Richards (ed.), Early Modern Civil Discourses (Basingstoke, 2003), pp. 162-82 and Women's Writing in the British Atlantic World, 1550-1700: Memory, Place and History (Cambridge, 2007)., KateChedgzoy; Chapter 2 Thirteen Ways of Looking Like a Welshman: Shakespeare and his Contemporaries, PhilipSchwyzer; Chapter 3 Glyn Dwr, Glendouer, Glendourdy and Glendower, David J.Baker; Chapter 4 Rhymer, Minstrel Lady Mortimer and the Power of Welsh Words, MeganLloyd; Chapter 5 'bastard Normans, Norman bastards': Anomalous Identities in The Life of Henry the Fift, ChristopherIvic; Chapter 6 Shakespeare's 'welsch men' and the 'King's English', MargaretTudeau-Clayton; Chapter 7 'O, I am ignorance itself in this!': Listening to Welsh in Shakespeare and Armin, HuwGriffiths; Chapter 8 Contextualizing 1610: Cymbeline, The Valiant Welshman, and The Princes of Wales, Marisa R.Cull; Chapter 9 Cymbeline, the translatio imperii, and the matter of Britain, LisaHopkins; Chapter 10 1 I am grateful to the Irish Research Council for Humanities and Social Sciences for a Research Fellowship and to the College of Arts, Celtic Studies and Social Sciences of University College Cork for research funding which aided completion of this work. I am also very grateful to Dr Matthew Woodcock and Professor James Knowles, as well as to the editors of the current volume, for useful critical reactions and proofreading., AndrewKing; Chapter 11 'Let a Welsh correction teach you a good English condition': Shakespeare, Wales and the Critics, WillyMaley; Chapter 12 Cackling Home to Camelot: Shakespeare's Welsh Roots, RichardWilson; afterword Afterword, KatieGramich;