- Title Pages
- Acknowledgements
- List of Abbreviations
- List of Illustrations
- List of Contributors
-
1 Introduction -
2 A History of The History of Cardenio -
3 After Arden -
4 Cardenio and the Eighteenth-Century Shakespeare Canon -
5 Malone’s Double Falsehood* -
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 Double Falsehood: Stylistic Evidence -
8 Can Double Falsehood Be Merely a Forgery by Lewis Theobald? -
9 Theobald’s Pattern of Adaptation: The Duchess of Malfi and Richard II -
10 Four Characters in Search of a Subplot: Quixote, Sancho, and Cardenio -
11 Don Quixote and Shakespeare’s Collaborative Turn to Romance* -
12 The Friend in Cardenio, Double Falsehood, and Don Quixote -
13 Transvestism, Transformation, and Text: Cross-dressing and Gender Roles in Double Falsehood/The History of Cardenio -
14 In This Good Time: Cardenio and the Temporal Character of Shakespearean Drama -
15 A Select Chronology of Cardenio -
16 The Embassy, The City, The Court, The Text: Cardenio Performed in 1613 -
17 Cardenio without Shakespeare -
18 Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s Historia de Cardenio -
19 Cultural Mobility and Transitioning Authority: Greenblatt’s Cardenio Project -
20 Reimagining Cardenio -
21 Will the Real Cardenio Please Stand Up? Richards’s Cardenio in Cambridge -
22 Theobald Restor’d: Double Falsehood at the Union Theatre, Southwark -
23 Restoring Double Falsehood to the Perpendicular for the RSC* -
24 Exploring The History of Cardenio in Performance -
25 Taylor’s The History of Cardenio in Wellington -
26 ‘May I be metamorphosed’: Cardenio by Stages - Works Cited
- Index
Can Double Falsehood Be Merely a Forgery by Lewis Theobald?
Can Double Falsehood Be Merely a Forgery by Lewis Theobald?
- Chapter:
- (p.162) 8 Can Double Falsehood Be Merely a Forgery by Lewis Theobald?
- Source:
- The Quest for Cardenio
- Author(s):
Richard Proudfoot
- Publisher:
- Oxford University Press
This chapter rejects the allegation, current since 1728, that Double Falsehood is Theobald’s original composition, masquerading as Shakespeare. Connection with the plays written by Shakespeare and Fletcher between c.1602 and c.1614, especially their two collaborations, Henry VIII and The Two Noble Kinsmen, is demonstrated by close examination of the 100 line-end polysyllables in the verse scenes of Double Falsehood (a quantifiable feature of versification preserved by Theobald at rates of 60% and 40% respectively in his adaptations of Shakespeare’s Richard II (1715) and Webster’s The Duchess of Malfi (as The Fatal Secret, 1735)). Theobald’s ‘falsehood’ was to make a loud and very public claim for Shakespeare as sole author of a play, putatively the ‘lost’ Cardenio, that he had good reason to believe — but (too) strenuously denied — also contained the work of Fletcher
Keywords: forgery, adaptation, line-end polysyllables, versification, Arden Shakespeare, Fletcher, Double Falsehood, Theobald, Henry VIII, the Two Noble Kinsmen, Richard II, Duchess of Malfi, Fatal Secret
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- Title Pages
- Acknowledgements
- List of Abbreviations
- List of Illustrations
- List of Contributors
-
1 Introduction -
2 A History of The History of Cardenio -
3 After Arden -
4 Cardenio and the Eighteenth-Century Shakespeare Canon -
5 Malone’s Double Falsehood* -
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 Double Falsehood: Stylistic Evidence -
8 Can Double Falsehood Be Merely a Forgery by Lewis Theobald? -
9 Theobald’s Pattern of Adaptation: The Duchess of Malfi and Richard II -
10 Four Characters in Search of a Subplot: Quixote, Sancho, and Cardenio -
11 Don Quixote and Shakespeare’s Collaborative Turn to Romance* -
12 The Friend in Cardenio, Double Falsehood, and Don Quixote -
13 Transvestism, Transformation, and Text: Cross-dressing and Gender Roles in Double Falsehood/The History of Cardenio -
14 In This Good Time: Cardenio and the Temporal Character of Shakespearean Drama -
15 A Select Chronology of Cardenio -
16 The Embassy, The City, The Court, The Text: Cardenio Performed in 1613 -
17 Cardenio without Shakespeare -
18 Nostalgia for the Cervantes–Shakespeare Link: Charles David Ley’s Historia de Cardenio -
19 Cultural Mobility and Transitioning Authority: Greenblatt’s Cardenio Project -
20 Reimagining Cardenio -
21 Will the Real Cardenio Please Stand Up? Richards’s Cardenio in Cambridge -
22 Theobald Restor’d: Double Falsehood at the Union Theatre, Southwark -
23 Restoring Double Falsehood to the Perpendicular for the RSC* -
24 Exploring The History of Cardenio in Performance -
25 Taylor’s The History of Cardenio in Wellington -
26 ‘May I be metamorphosed’: Cardenio by Stages - Works Cited
- Index
