- 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
Theobald’s Pattern of Adaptation: The Duchess of Malfi and Richard II
Theobald’s Pattern of Adaptation: The Duchess of Malfi and Richard II
- Chapter:
- (p.180) 9 Theobald’s Pattern of Adaptation: The Duchess of Malfi and Richard II
- Source:
- The Quest for Cardenio
- Author(s):
David Carnegie
- Publisher:
- Oxford University Press
This chapter analyses Lewis Theobald’s adaptations of two early modern plays that survive in their original form, with the intention of providing evidence of the kind of treatment he might be expected to have given the lost Fletcher/Shakespeare Cardenio in adapting it as Double Falsehood (1727). Close examination of Theobald’s The Fatal Secret, based on John Webster’s The Duchess of Malfi, and The Tragedy of King Richard II, based on Shakespeare’s play, reveals a coherent pattern of adaptation to suit neoclassical norms of the early eighteenth-century theatre. He consistently cuts and rewrites to achieve neoclassical unities, decorum, and plausibility. He frequently retains original speeches but gives them to other characters for different purposes. Importantly, he nearly always writes his own scene- and act-endings. These various techniques provide suggestive evidence about how Double Falsehood may differ from its early modern original.
Keywords: Cardenio, Theobald, Shakespeare, adaptation, neoclassical theatre, Double Falsehood, unities, act-endings, early modern theatre
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .
- 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
