- Title Pages
- Acknowledgements
- List of Abbreviations
- List of Illustrations
- List of Contributors
- 1 Introduction
- 2 A History of <i>The History of Cardenio</i>
- 3 After Arden
- 4 <i>Cardenio</i> and the Eighteenth-Century Shakespeare Canon
- 5 Malone’s <i>Double Falsehood</i> <sup>*</sup>
- 6 ‘Whether one did Contrive, the Other Write,/Or one Fram’d the Plot, the Other did Indite’: Fletcher and Theobald as Collaborative Writers
- 7 Looking for Shakespeare in <i>Double Falsehood</i>: Stylistic Evidence
- 8 Can <i>Double Falsehood</i> Be Merely a Forgery by Lewis Theobald?
- 9 Theobald’s Pattern of Adaptation: <i>The Duchess of Malfi</i> and <i>Richard II</i>
- 10 Four Characters in Search of a Subplot: Quixote, Sancho, and <i>Cardenio</i>
- 11 <i>Don Quixote</i> and Shakespeare’s Collaborative Turn to Romance*
- 12 The Friend in <i>Cardenio, Double Falsehood</i>, and <i>Don Quixote</i>
- 13 Transvestism, Transformation, and Text: Cross-dressing and Gender Roles in <i>Double Falsehood</i>/<i>The History of Cardenio</i>
- 14 In This Good Time: <i>Cardenio</i> and the Temporal Character of Shakespearean Drama
- 15 A Select Chronology of <i>Cardenio</i>
- 16 The Embassy, The City, The Court, The Text: <i>Cardenio</i> Performed in 1613
- 17 <i>Cardenio</i> without Shakespeare
- 18 Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s <i>Historia de Cardenio</i>
- 19 Cultural Mobility and Transitioning Authority: Greenblatt’s <i>Cardenio Project</i>
- 20 Reimagining <i>Cardenio</i>
- 21 Will the Real <i>Cardenio</i> Please Stand Up? Richards’s <i>Cardenio</i> in Cambridge
- 22 Theobald Restor’d: <i>Double Falsehood</i> at the Union Theatre, Southwark
- 23 Restoring <i>Double Falsehood</i> to the Perpendicular for the RSC*
- 24 Exploring <i>The History of Cardenio</i> in Performance
- 25 Taylor’s <i>The History of Cardenio</i> in Wellington
- 26 ‘May I be metamorphosed’: <i>Cardenio</i> by Stages
- Works Cited
- Index
Four Characters in Search of a Subplot: Quixote, Sancho, and Cardenio
Four Characters in Search of a Subplot: Quixote, Sancho, and Cardenio
- Chapter:
- (p.192) 10 Four Characters in Search of a Subplot: Quixote, Sancho, and Cardenio
- Source:
- The Quest for Cardenio
- Author(s):
Gary Taylor
John V. Nance
- Publisher:
- Oxford University Press
This chapter pursues conjectures by earlier scholars that the Jacobean play The History of Cardenio contained a subplot, traces of which survive in Lewis Theobald’s Double Falsehood, which is anomalously short. It gives reasons for believing that the original play contained more material from Don Quixote, related to the Cardenio story there, and then focuses on two scenes and four characters that seem to be relics of that subplot: the two Gentlemen in 4.2 and Fabian and Lopez in 2.1. It connects these characters to Quixote, Sancho, the Barber, and the Curate. It then uses a variety of stylometric tests to establish that four of the speeches of Fabian and Lopez were written by Shakespeare toward the end of his career, with a fifth apparently by Fletcher, and that the speeches of Henriquez in 2.1 contain large amounts of writing by Theobald.
Keywords: Cardenio, Shakespeare, Fletcher, Theobald, Cervantes, stylometrics, subplot
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- Title Pages
- Acknowledgements
- List of Abbreviations
- List of Illustrations
- List of Contributors
- 1 Introduction
- 2 A History of <i>The History of Cardenio</i>
- 3 After Arden
- 4 <i>Cardenio</i> and the Eighteenth-Century Shakespeare Canon
- 5 Malone’s <i>Double Falsehood</i> <sup>*</sup>
- 6 ‘Whether one did Contrive, the Other Write,/Or one Fram’d the Plot, the Other did Indite’: Fletcher and Theobald as Collaborative Writers
- 7 Looking for Shakespeare in <i>Double Falsehood</i>: Stylistic Evidence
- 8 Can <i>Double Falsehood</i> Be Merely a Forgery by Lewis Theobald?
- 9 Theobald’s Pattern of Adaptation: <i>The Duchess of Malfi</i> and <i>Richard II</i>
- 10 Four Characters in Search of a Subplot: Quixote, Sancho, and <i>Cardenio</i>
- 11 <i>Don Quixote</i> and Shakespeare’s Collaborative Turn to Romance*
- 12 The Friend in <i>Cardenio, Double Falsehood</i>, and <i>Don Quixote</i>
- 13 Transvestism, Transformation, and Text: Cross-dressing and Gender Roles in <i>Double Falsehood</i>/<i>The History of Cardenio</i>
- 14 In This Good Time: <i>Cardenio</i> and the Temporal Character of Shakespearean Drama
- 15 A Select Chronology of <i>Cardenio</i>
- 16 The Embassy, The City, The Court, The Text: <i>Cardenio</i> Performed in 1613
- 17 <i>Cardenio</i> without Shakespeare
- 18 Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s <i>Historia de Cardenio</i>
- 19 Cultural Mobility and Transitioning Authority: Greenblatt’s <i>Cardenio Project</i>
- 20 Reimagining <i>Cardenio</i>
- 21 Will the Real <i>Cardenio</i> Please Stand Up? Richards’s <i>Cardenio</i> in Cambridge
- 22 Theobald Restor’d: <i>Double Falsehood</i> at the Union Theatre, Southwark
- 23 Restoring <i>Double Falsehood</i> to the Perpendicular for the RSC*
- 24 Exploring <i>The History of Cardenio</i> in Performance
- 25 Taylor’s <i>The History of Cardenio</i> in Wellington
- 26 ‘May I be metamorphosed’: <i>Cardenio</i> by Stages
- Works Cited
- Index
