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Walsh is equally confident working inside and outside the canon, showing the subtlety in plays that are seldom read or taught, and not afraid to discuss them at length. Alison Shell, Times Literary Supplement

"I enjoyed the book and the considerable amount of detailed interpretation. * Lorenzo Zucca, Bulletin of the Comediantes * Walsh's study offers new perspectives on both familiar and unfamiliar texts... he successfully indicates the extent to which artistic licence could explore a more flexible and accommodating response to confessional differences than was possibleor permissible in a more public political context. * Paul Dean, The Journal * Walsh's excellent book recognizes fine distinctions often overlooked within presentations of religious discourse. It reminds us that the Reformation was an unsettled period that both marginalized and integrated competing theological beliefs and practices."" —Richard Finkelstein, Modern Philology ... takes a fresh look at the well-established notion that Renaissance plays tend to be religiously polyvocal rather than expressing a single theological or confessional stance ... What makes his book important is the way it expands the critical vocabulary we use to talk about theater and religion. * Kevin Curran, Studies in English Literature 1500-1900 * Walsh is equally confident working inside and outside the canon, showing the subtlety in plays that are seldom read or taught, and not afraid to discuss them at length. * Alison Shell, Times Literary Supplement * Following in the footsteps of Jeffrey Shoulson and David Scott Kastan, Walsh undertakes an important consideration of Shakespeare and religion. * N. Birns, New York University * The title of Brian Walshs book, Unsettled Toleration, seems especially resonant in the context of contemporary anxieties about religious difference. Focusing on an intra-Christian conflict between dominant and minority believers, Walshs thesis re-engages with the relationships between faiths in early modern drama ... Walsh analyses the instrumental role that the theatre played to create, enlarge, and sustain an openended public conversation on the vicissitudes of getting along in a sectarian world. Walshs argument is not that Shakespeares theatre produced liberal versions of religious pluralism but rather that the stage hatched imagined scenarios of confessional conflict. * Charlotte Scott, Shakespeare Survey *"

The title of Brian Walshs book, Unsettled Toleration, seems especially resonant in the context of contemporary anxieties about religious difference. Focusing on an intra-Christian conflict between dominant and minority believers, Walshs thesis re-engages with the relationships between faiths in early modern drama ... Walsh analyses the instrumental role that the theatre played to create, enlarge, and sustain an openended public conversation on the vicissitudes of getting along in a sectarian world. Walshs argument is not that Shakespeares theatre produced liberal versions of religious pluralism but rather that the stage hatched imagined scenarios of confessional conflict. * Charlotte Scott, Shakespeare Survey * Following in the footsteps of Jeffrey Shoulson and David Scott Kastan, Walsh undertakes an important consideration of Shakespeare and religion. * N. Birns, New York University * Walsh is equally confident working inside and outside the canon, showing the subtlety in plays that are seldom read or taught, and not afraid to discuss them at length. * Alison Shell, Times Literary Supplement * ... takes a fresh look at the well-established notion that Renaissance plays tend to be religiously polyvocal rather than expressing a single theological or confessional stance ... What makes his book important is the way it expands the critical vocabulary we use to talk about theater and religion. * Kevin Curran, Studies in English Literature 1500-1900 * Walsh's excellent book recognizes fine distinctions often overlooked within presentations of religious discourse. It reminds us that the Reformation was an unsettled period that both marginalized and integrated competing theological beliefs and practices. -Richard Finkelstein, Modern Philology

The title of Brian Walshs book, Unsettled Toleration, seems especially resonant in the context of contemporary anxieties about religious difference. Focusing on an intra-Christian conflict between dominant and minority believers, Walshs thesis re-engages with the relationships between faiths in early modern drama ... Walsh analyses the instrumental role that the theatre played to create, enlarge, and sustain an openended public conversation on the vicissitudes of getting along in a sectarian world. Walshs argument is not that Shakespeares theatre produced liberal versions of religious pluralism but rather that the stage hatched imagined scenarios of confessional conflict. * Charlotte Scott, Shakespeare Survey * Following in the footsteps of Jeffrey Shoulson and David Scott Kastan, Walsh undertakes an important consideration of Shakespeare and religion. * N. Birns, New York University * Walsh is equally confident working inside and outside the canon, showing the subtlety in plays that are seldom read or taught, and not afraid to discuss them at length. * Alison Shell, Times Literary Supplement * ... takes a fresh look at the well-established notion that Renaissance plays tend to be religiously polyvocal rather than expressing a single theological or confessional stance ... What makes his book important is the way it expands the critical vocabulary we use to talk about theater and religion. * Kevin Curran, Studies in English Literature 1500-1900 * Walsh's excellent book recognizes fine distinctions often overlooked within presentations of religious discourse. It reminds us that the Reformation was an unsettled period that both marginalized and integrated competing theological beliefs and practices. -Richard Finkelstein, Modern Philology Walshs study offers new perspectives on both familiar and unfamiliar texts... he successfully indicates the extent to which artistic licence could explore a more flexible and accommodating response to confessional differences than was possibleor permissible in a more public political context. * Paul Dean, The Journal *

... takes a fresh look at the well-established notion that Renaissance plays tend to be religiously polyvocal rather than expressing a single theological or confessional stance ... What makes his book important is the way it expands the critical vocabulary we use to talk about theater and religion. Kevin Curran, Studies in English Literature 1500-1900 Walsh is equally confident working inside and outside the canon, showing the subtlety in plays that are seldom read or taught, and not afraid to discuss them at length. Alison Shell, Times Literary Supplement Following in the footsteps of Jeffrey Shoulson and David Scott Kastan, Walsh undertakes an important consideration of Shakespeare and religion. N. Birns, New York University

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Brian Walsh has taught at Rutgers, the University of Illinois, and Yale University. He is the author of Shakespeare, The Queen's Men, and The Elizabethan Performance of History (Cambridge University Press, 2009) as well as several articles and book chapters on Elizabethan and Jacobean drama. He has also edited a collection of essays on The Revenger's Tragedy for Bloomsbury Publishing.

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