- 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
The Embassy, The City, The Court, The Text: Cardenio Performed in 1613
The Embassy, The City, The Court, The Text: Cardenio Performed in 1613
- Chapter:
- (p.286) 16 The Embassy, The City, The Court, The Text: Cardenio Performed in 1613
- Source:
- The Quest for Cardenio
- Author(s):
Gary Taylor
- Publisher:
- Oxford University Press
This chapter focuses on the two known Jacobean performances of Cardenio. It provides new documentary evidence that one performance took place at the Aldermanbury home of Sir John Swinnerton, Mayor of London, attended by one or both of the ambassadors of the Duke of Savoy, and probably by other figures associated with them, including Sir Henry Wotton and Sir Richard Rich. It provides for the first time a full calendar of the movements of King James from 31 October 1612 to 20 May 1613, demonstrating that he probably did not see Cardenio until mid-February. It then connects Cardenio to the death of Prince Henry and to what is known about its early spectators. Finally, it re-examines Double Falsehood in the light of this early theatre history, and conjectures that Theobald’s adaptation was influenced by the reputation of D’Urfey’s Comical History of Don Quixote.
Keywords: Cardenio, Shakespeare, Fletcher, Cervantes, Theobald, D’Urfey, King James, Swinnerton, Savoy
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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
