- 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
Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s Historia de Cardenio
Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s Historia de Cardenio
- Chapter:
- (p.318) 18 Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s Historia de Cardenio
- Source:
- The Quest for Cardenio
- Author(s):
Ángel-Luis Pujante
- Publisher:
- Oxford University Press
This chapter examines the changes effected in the Spanish translation of Double Falsehood (1987, repr. 2007) by its translator Charles David Ley. On the one hand, Ley replaced the Theobald title with that of Historia de Cardenio (by Shakespeare and Fletcher) and went back to Cervantes for the original names of the characters. On the other, he questioned some aspects of Theobald’s text and altered some passages in his rendering, mainly in the form of substitution and suppression of Theobald’s supposed additions to the lost original. All these textual changes — which are compared with those made by Gary Taylor in his reconstruction of The History of Cardenio — suggest how Ley’s personal interest in, and empathy with, the lost play led him to attempt to recover it, however minimally.
Keywords: Cardenio, Double Falsehood, Shakespeare, Spanish translation, editing, textual reconstruction, literary influence, Charles David Ley, Gary Taylor
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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
