Book contents
- Frontmatter
- The Power of Magic: From Endimion to The Tempest
- Reading The Tempest
- The Latter End of Prospero’s Commonwealth
- Henry VIII and the Deconstruction of History
- The Politics of Conscience in All is True (or Henry VIII)
- Shakespeare’s Romantic Innocents and the Misappropriation of the Romance Past: The Case of The Two Noble Kinsmen
- The Hand of John Fletcher in Double Falsehood
- ‘The Duke my Father’s Wrack’: The Innocence of the Restoration Tempest
- ‘Remember/First to Possess his Books’: The Appropriation of The Tempest 1700-1800
- The Tempest and After
- Poetry’s Sea-Changes: T. S. Eliot and The Tempest
- The New Function of Language in Shakespeare’s Pericles: Oath versus ‘Holy Word’
- The Discovery of The Rose Theatre: Some Implications
- The Origins of the Roxana and Messallina Illustrations
- Recycling the Early Histories: ‘The Wars of the Roses’ and ‘The Plantagenets’
- Shakespeare Production in England in 1989
- Professional Shakespeare Productions in the British Isles, January-December 1988
- The Year's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
The Hand of John Fletcher in Double Falsehood
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- The Power of Magic: From Endimion to The Tempest
- Reading The Tempest
- The Latter End of Prospero’s Commonwealth
- Henry VIII and the Deconstruction of History
- The Politics of Conscience in All is True (or Henry VIII)
- Shakespeare’s Romantic Innocents and the Misappropriation of the Romance Past: The Case of The Two Noble Kinsmen
- The Hand of John Fletcher in Double Falsehood
- ‘The Duke my Father’s Wrack’: The Innocence of the Restoration Tempest
- ‘Remember/First to Possess his Books’: The Appropriation of The Tempest 1700-1800
- The Tempest and After
- Poetry’s Sea-Changes: T. S. Eliot and The Tempest
- The New Function of Language in Shakespeare’s Pericles: Oath versus ‘Holy Word’
- The Discovery of The Rose Theatre: Some Implications
- The Origins of the Roxana and Messallina Illustrations
- Recycling the Early Histories: ‘The Wars of the Roses’ and ‘The Plantagenets’
- Shakespeare Production in England in 1989
- Professional Shakespeare Productions in the British Isles, January-December 1988
- The Year's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
In 1728 Lewis Theobald published The Double Falsehood; or, The Distressed Lovers, a play he claimed to be ‘Written Originally by W. Shakespeare; And now Revised and Adapted to the Stage by Mr Theobald . . . Even a cursory reading of the play would seem to discount the possibility that Theobald’s claim has any merit. Yet one or two facts seem to demand we give the claim further attention. The play is based on the story of Cardenio in Don Quixote. Cardenno is the title of a play twice acted by Shakespeare’s company at the court of James I during 1612–13. Among unpublished manuscripts of that company acquired by Humphrey Mosely was one entered to him in the Stationers’ Register in 1653 as ‘The History of Cardenio, by Mr Fletcher & Shakespeare.’ This information did not come to light until long after Theobald’s death; it is unlikely that Theobald knew it; he certainly never made use of it to justify his claims, even in the face of a campaign of ridicule.
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- Information
- Shakespeare Survey , pp. 81 - 90Publisher: Cambridge University PressPrint publication year: 1991