Download Generative model—Will in the World as a novel and the novels

Generative model—Will in the World as a novel and the novels Greenblatt cites just like other
novelizations of Elizabeth and Shakespeare, Elizabeth and Bacon, Elizabeth and Oxford
presented as historical fact.
Use Interred by their Bones, one of the novels mentioned both by Hammon and by
Roger Chartier in his book on Cardenio, mentions Oxford is caught up not only in the
lost manuscript but in the authorship controversy. It even gets into the Shakespeare
was a secret Catholic argument, trained by Jesuits, and has the translator of Don
Quixote also misattributed. The Jesuit brother actually translated it and it published
it under his brother’s name. (I confess that’s all I can say about the book because I
found it unreadable. I have already wasted enough years on Shakespeare. I’m afraid
I just don’t have world enough and time. I can already hear time’s winged chariots
coming to bring through the iron gates of life. Seize the day seizure of the day
Division between first name and last, loss of referent of Will—two Wills, one Wiliam
Shelton, the other William Shakespeare.
In Interred with their bones, Bacon, Oxford, William Stanley, Mary Sidney, Countess
of Pembroke, and Shakespeare were all in on it, though it’s unclear the extent to
which some were patrons who commissioned works or whether they wrote it.
Cardenio dropped from FF because of the Howards, who burned down the Globe
after it was performed.
KJV and the final scene of the Book of Eli
KJV is the magnum opus in Interred with their Bones, psalm 46. Cardenio is found,
and it begins with a Cervantes and Quixote frame.
end of Book of Eli as analogue
to Hamlet editing to make a point about dictation--what the end
reconstructs is a fantasy of recovery and transmission of a lost text
via a dictation that gets transcribed by hand. The lost Book of the
reassembled library, which even includes Shakespeare, is recovered
through a mediatized, theological model of transmission which posits a
voice at the and as the origin (of a remembered, interiorized text
that is forgotten to be such and is restaged as purified
exteriorization and transmission from a speaker's voice to a
listener's hand, like those Renaissance paintings of
apostles--Matthew?--taking dictation form Jesus). The giveaway or
symptom lies in the latent pun in the film's title. The Book . . . of
Eli (the Book that Eli owns a copy of, namely, the Bible), but also
the Book of Eli as in the Book Eli wrote or spoke, the latest
prophetic installment, a Re-(Te)st(at)ement of the New in the form of
the Old, as in Book of Job, etc). A strangely post- or non-messianic
theology of the testament as statement recorded at the prophet's
deathbed. Eli's body becomes messianic--wounded, dying while
dictating, then dead--sacrificed to recover the book as corpus (Eli
begins at the beginning, with Genesis, but the montage of him
dictating does not end with him reciting the Book of Revelations).
The corpus has a dying breath—film finishes before dictation can end. So prophetic
mode is tuned out, or turned off. Or a new prophet / disciple houses the old book
under a new title. Gary Oldman thinks it’s a kind of magical book—he’s a bit like
Caliban.
Miguel Y William
Elena Anaya, et al 1 of 1 people found the following review helpful
Playful and enjoyable February 3, 2012
By Juan Vaquer-Castrodad
Format:DVD
This is a clever and playful Spanish film, in the spirit of "Shakespeare in Love", about
a fantasy encounter between a beautiful and lively young Spanish woman (Elena
Anaya) in 16th century Castille who, while living in England with her family and her
nursemaid (Geraldine Chaplin), had met and fallen in love with a young William
Shakespeare (Will Kemp). Back in Castille after becoming engaged to a much older
Duke (Josep Pou), she meets Miguel de Cervantes Saavedra (Juan Galiardo), the
future author of Don Quixote, a war hero who fought in the famous Battle of Lepanto
under the old Duke. Cervantes has now turned tax collector after becoming
disenchanted with writing because of the indifferent public reaction to his early
comedies. Her old flame William Shakespeare then also turns up in Castille trying to
win back his former lover and a pleasant comedy ensues between the three
characters. The story is playful, involving her passion and admiration for the writing
of both famous authors, her love for the young and handsome Shakespeare and
enthrallment with the serious and older Cervantes, and the resulting entanglement
between all of them and the Duke. The acting is first rate, the script cleverly mixes
historic details with fantasy, the plot is enjoyable and pleasant. The period settings
and costumes are excellent and the directing is very good. I found it enjoyable and
decided to buy it, but wouldn't recommend you do so unless you enjoy the period,
the settings and the language. The movie is spoken mostly in Spanish with some
English dialogue, particularly in the sequences involving Shakespeare.
Out Source Studies
Jean Rae Baxter, Looking for Cardenio (title echoes Al Pacino’s Looking for Richard).
Turns out that the mss is a forgery (209), and the forged mss is based on Middleton’s The
Witch, posthumously published for the first time in 1778. Only one mss copy in the
Bodleian. See pp. 252-54
Possibly the compilers of the First Folio could not find a manuscript from which to print
it. That might well have been the case if the prompt copy had perished in the fire that
destroyed the Globe Theatre in 1613. Or perhaps the compilers rejected Cardenio as they
rejected Pericles, as not entirely Shakespeare’s work. Whatever the reason, they had not
included Cardenio. 215-16.
See outlines her theory p. 216
Mss as mummified,190
“My theory is, somebody four hundred years ago took an obscure play, doctored the text,
and tried to pass it off as Shakespeare’s lost play.
Who was the real author?” Sebastian certainly was persistent . .
I don’t know, but I intend to find out.” 250
Now what? Playing literary detective, I had solved the first half of the mystery. But—to
use the language of crime fiction—I still didn’t know “Who done it.” Nor did I anticipate
that I could ever learn the name of the man behind the fraud. People like him . . . leave
no imprint behind. 253-54.
King’s College Chief Archivist has checked the record,” said Mrs. Cohen. “A clergyman,
the Reverend Cadwaller Simpson, presented the manuscript in question as a gift to the
College . . .” She glanced at the document on her desk. “The date was November 7, 1862.
By the early 1900s, King’s College had lost track of the manuscript. 260-61
Mss preservation p. 261;193-95.
But where did the play come from? Who did write it? What was its title before the scam
artist stole it? If I managed to uncover the identity of the real author, my discovery could
result in an interesting book that might help me to another university position. 214-15
Shakespeare as w/underwriter / undertaker.
Murder mystery by J. L. Carrell’s The Shakespeare Secret (2007), 133
Jean Rae Baxter Looking for Cardenio (20008)
David Nokes The Nightingale Papers (2005), 132
Jpaser Fforde, Lost in a Good Book (2002), sci-fi, 131
Gregory Doran Shakespeare's Lost Play: In Search of Cardenio [Paperback]
In addition to the Arden edition of Cardenio, Gary Taylor’s reconstruction, Sort of
Shakespeare
See the Anonymous DVD at the bottom right page for Doran's Cardenio book and
Shapiro’s Contested Will.
We can focus on this novel since it is so central to Hammon in his introduction. We
can also justify attention to these works because they are placed on a continuum
with Greenblatt and Mee , Talyor, etc in the Arden intro (same section) and by
Chartier. Mentioned summarized, invoked, but not read. The novel triangulates our
triangulation of Anonymous , Cardenio, and Oxfordianism (except it is Baconianism
in Carrell’s case).
Entre Cervantes y Shakespeare : sendas del Renacimiento = Between Shakespeare and
Cervantes : Trails Along the Renaissance
eds. Zenón Luis-Martínez, Luis Gómez Canseco.
Author: Entre Cervantes y Shakespeare: Sendas del Renacimiento (2004: Huelva,
Spain) Newark, Del.: Juan de la Cuesta, 2006.
Robin Chapman, Shakespeare's Don Quixote: A Novel in Dialogue Book Now
Publishing, 2011
Interesting that the title is creates yet another aka for Cardenio and actually
misattributes authorship since only Cervantes can rightly be linked with a
possessive to Don Quixote. The conjunction of Shakespeare and Don Quixote, both
part of a title separated from the author (like film director Baz Luhman is from
William Shakespeare’s Romeo + Juliet) is obviously meant to be thought-provoking.
SHAKESPEARE'S DON QUIXOTE recreates what might have been: a lost play
presented at Whitehall Palace in 1613. That year Shakespeare's company provided
14 plays for a royal wedding. One was called Cardenio. The original script has never
been found but an 18th century version, retitled Double Falsehood, may contain
echoes of their work together. Cardenio's story occurs in Don Quixote, Cervantes's
universal best-seller, wherein the vexed teenager protagonist encounters the
would-be knight errant and his sceptical squire. If Shakespeare's attention was
drawn to the story's dramatic potential it seems likely it would have featured Don
Quixote and Sancho Panza, since by that time Cervantes's double act was appearing
on stage and in carnivals worldwide. Acting upon this hypothesis Robin Chapman's
novel plays out today in a theatre of the mind. Among the audience the reader will
find the attentive spirits of Shakespeare, Fletcher and Cervantes who soon become
involved with each other and in the performance.
Frazier, Harriet C. 2009. A babble of ancestral voices: Shakespeare, Cervantes and
Theobald, Jefferson, N.C. : McFarland & Co.,
Roger Chartier, Cardenio Between Cervantes and Shakespeare: The Story of a Lost
Play
(Polity Press, 2012)
http://www.amazon.co.uk/Cardenio-Between-Cervantes-Shakespeare-
Story/dp/0745661858/ref=lh_ni_t
The Quest for Cardenio: Shakespeare, Fletcher, Cervantes, and the Lost Play
David Carnegie (Editor), Gary Taylor (Editor)
Oxford UP, Sept / November 2012
Shakespeare's Don Quixote: A Novel in Dialogue
Robin Chapman (Author)
http://www.amazon.co.uk/Shakespeares-Don-Quixote-NovelDialogue/dp/0950671517/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1338125056&sr
=1-1-spell
Don Quixote itself has a frame narrative—it’s a found text framed as a translation
from Arabic, an archive (literally).
A la Borges’ Pierre Menard, Author of Don Quioxote, we have Lewis Theobald, not
author of Cardenio.
Greenblatt and Mee’s Cardenio project, and Roger Chartier’s book on Cardenio,
Similar books have been written about Cardenio. Murder mystery by J. L. Carrell’s
Gregory Doran,
These books are books restitution, recovery, and restoration projects that operate
through normal bibliographical codes and textual forensics. High tech computer
scene when John Hurt demonstrates the “real” truth of the Last Supper and, along
with John Hurt, explains the cover up. In Da Vinci Code 2, the archive is where the
truth is. It’s more about retribution studies than attribution studies.
The title and subtitle of Doran’s book actually do replace Shakespeare’s name with
another. There was a TV show with Michael Wood called In Search of Shakespeare
(2003). One of the sequences of that show, directed by Doran, involved a song from
Cardenio. See Arden, 332 and “Wood speculates that this is the second song heard
originally in The History of Cardenio but dropped by Theobald except in allusion.”
333 As I recall, Woods also gets into the authorship question.
Looking for Richard is also a quest film.
Btw, check this out:
http://www.fas.harvard.edu/~cardenio/index.html
Double Falsehood: Third Series (Arden Shakespeare)
William Shakespeare, Brean Hammond
Cardenio entre Cervantes et Shakespeare (French Edition) [Paperback]
Roger Chartier (Author)
Below you can see a translation of the text to be found on the France Culture, French
radio website, copied from the book's blurb. This blurb prompted me to buy Roger
Chartier's book, "Cardenio, between Cervantès and Shakespeare: The Story of a Lost
Play". The book was published a few months ago.
"How to read a text that does not exist, or get an idea of a play whose real author we
don’t know and the manuscript of which has been lost? That is the riddle posed by
Cardenio--a play performed in England for the first time in 1612 or 1613, and
attributed, forty years later, to Shakespeare (and Fletcher). The play is based on a
story contained in Don Quixote, a work which began to circulate in the major
European countries very soon after publication, to be both translated and adapted
for the theater. In England, the novel of Cervantes was known and quoted even
before 1612, the year in which it was translated (into English) and inspired
Cardenio.
This riddle has a number of facets. It was a time when, thanks chiefly to the
invention of printing, differing discourses proliferated and fear of their excesses led
to their rarefaction. All pieces of writing were not meant to survive. Plays, which
were considered the lowest of the low in the literary hierarchy, very often were not
even printed – and the genre adapted well to the ephemeral existence of its works.
But, if an author became famous, the subsequent search through the archives
inspired the invention of textual relics, restoration of remains damaged by time, and
even, at times, to fill in the gaps, forgery.
This is what happened to Cardenio in the eighteenth century. Uncovering the history
of this play thus leads to questions about the past status of works now considered
part of the literary canon. In this book, the reader rediscovers the malleability of
texts, as they are transformed by their translations and adaptations, their migration
from one genre to another, and the successive meanings constructed by their
audiences. For many readers, Don Quixote was for a long time a collection of stories,
suitable to be published separately or to be adapted for the stage, at the expense of
the consistency of the eponymous hero's adventures. Shakespeare was a playwright
who, like many of his colleagues, often wrote in collaboration, recycled stories
borrowed from other writers and at times could not find a publisher for his texts.
Roger Chartier illuminates the riddle of a play without a text, but not without an
author."<a
href="http://www.goodreads.com/review/show/236994919">more...</a>
The Quest for Cardenio: Shakespeare, Fletcher, Cervantes, and the Lost Play
[Hardcover]
David Carnegie (Author), Gary Taylor (Author)
Also the library, wonder cabinet scene in Oxford’s house.
How I found Cardenio, Shakespeare's lost play
As a Renaissance scholar, I've been piecing together fragments of a play believed to
be part-written by Shakespeare. Now the results are about to go on show
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Putting one and one together ... Pippa Nixon and Alex Hassell in the RSC's Cardenio –
a different reconstruction – earlier this year. Photograph: Tristram Kenton for the
Guardian
In the spring of 1613, the office of the Treasurer of the King's Chamber recorded
two separate payments to the King's Men – William Shakespeare's company – for
performances of a play called Cardenna or Cardenno. The two records presumably
refer to the same play, since it is unlikely that the King's Men had two different plays
whose titles differed by only a single letter. Court records almost always
abbreviated play titles, and the clerks who wrote these draft accounts were
primarily concerned with exactly how much money was paid to whom. Almost all
scholars agree that both payments refer to Cardenio.
Cardenio's story, based on a section from Cervantes's masterpiece Don Quixote, is a
tragicomedy set in the Spanish mountains, populated by goatherds and shepherds,
lovers, madmen and nunneries. Of playwrights known to have been writing for the
King's Men in the years 1611–14, only three wrote pastoral tragicomedies: Francis
Beaumont, John Fletcher and William Shakespeare.
In 1653 the leading English publisher of plays and poetry, Humphrey Moseley,
registered his copyright in a list of 42 plays. Somewhere mid-list is "The History of
Cardenio, by Mr Fletcher & Shakespeare". Shakespeare had yet to become English
literature's biggest cash cow, and Moseley never published that play (or many
others that he registered). Moseley's title-phrase, The History of Cardenio, appears
verbatim in the first English translation of Part One of Don Quixote, published in
1612. Since the phrase appears nowhere else in English, the play that Moseley
registered must, logically speaking, have dramatised the Cardenio episodes from
Cervantes's novel. It's a plausible attribution to Fletcher and Shakespeare.
In December 1727 the Drury Lane theatre performed a play based on the Cardenio
episodes in Don Quixote, and based in particular on the 1612 translation. It was
called Double Falshood, or The Distrest Lovers, and the edition printed that month
declared it was "written originally by W Shakespeare; and now revised and adapted
to the stage by Mr Theobald". Lewis Theobald was a minor playwright, minor poet
and the world's first Shakespeare scholar.
Did Theobald possess a manuscript of The History of Cardenio? For the past 100
years, respected attribution specialists have concluded that he did, and that Double
Falsehood includes passages clearly written by Fletcher and others probably
written by Shakespeare. Next year, which will be the quatercentenary of the
publication of Thomas Shelton's 1612 translation of Don Quixote, Oxford University
Press will publish The Quest for Cardenio: Shakespeare, Fletcher, Cervantes and the
Lost Play, which includes new empirical evidence based on modern databases.
Double Falsehood contains writing by Fletcher and Shakespeare – and Theobald. So
what we have is parts of a play, written by two great playwrights, rearranged and
overlaid and mixed with material written by a not-so-great playwright more than a
century later.
If you have read the 2010 Arden Shakespeare edition of Double Falsehood, or seen
any of the recent theatrical revivals and adaptations calling themselves Cardenio,
you have almost certainly been disappointed, and skeptical. Why? In part because
what you have seen has contained a lot of Lewis Theobald, and Theobald will never
satisfy anyone's expectations of Shakespeare or Cervantes. The first thing we need
to do is get rid of Theobald. That requires a lot of painstaking (read: boring) work
with databases, a bit like paleontologists slowly brushing away the stone that
surrounds dinosaur bones.
But what's left after we get rid of Theobald? Fragments. And a lot of questions. Why
did Theobald add a speech here? Why did he change a name there? Why does one
18th-century phrase appear in the middle of a Jacobean sentence? Why did
Theobald leave out material that was in the novel? Because Shakespeare and
Fletcher left it out or because he (or Drury Lane) didn't like it?
As a scholar I have been talking about Renaissance drama for 35 years. But since 1992
I've been doing more than talk: I've been working with a series of companies (seven
different directors, nine groups of actors), trying to figure out how to put the pieces of
Fletcher and Shakespeare's Humpty Dumpty back together again. This Sunday at
Shakespeare's Globe in London, 16 actors directed by Wilson Milam will read the latest
version of this experiment. Is it as good as your favourite Shakespeare play? Of course
not. Is it better than Theobald? You tell me.
http://www.guardian.co.uk/stage/theatreblog/2011/nov/18/cardenioshakespeares-lost-play
The Quest for Cardenio: Shakespeare, Fletcher, Cervantes, and the Lost Play
[Hardcover] David Carnegie (Author), Gary Taylor
http://liberalarts.iupui.edu/cardenio/colloquium.php
The History of Cardenio: Spain and England, Then and Now
Registration: $50 for students, $70 for non-students
(Includes a ticket to the performance on Friday, April 27, and
refreshments and lunch on Saturday, April 28)
To register for the colloquium, please click here.
Friday April 27, 2012
10:00 - 11:30 John Fletcher: Shakespeare's Last Collaborator (I)
Campus Center 305
Chair: Ayanna Thompson
Respondent: Gary Taylor
Lacey Conley, "Professionalizing Fletcher: the Co-authors' Influence"
Chad Andrews, "'A Tempest in my Stomach': Management of Ecosystems in
Shakespeare's The Tempest and Fletcher and Massinger's The Sea Voyage"
***break for lunch***
1:00 - 2:30 Authorship and Cervantine Adaptation
Campus Center 305
Chair & Respondent: Roger Chartier
John V. Nance, "The Pleasure of Shakespearean Prose in Theobald's
Double Falsehood"
Greg Baum, "(Ab)using Cardenio: Thomas D'Urfey's The Comical History
of Don Quixote"
Ben Miele, "Step-fathers: Cervantes, Theobald, and the Fictions of Authorship"
***afternoon break***
5:30 Keynote Lecture
Campus Center Theater
Gary Taylor, “Working Together: Theater, Collaboration, and Cardenio”
7:00 Performance: The History of Cardenio
Campus Center Theater
10:00 Post-performance talk-back
Campus Center Theater
Saturday April 28, 2012
9:00 - 10:15 Cervantes in England
Campus Center 305
Chair: Gary Taylor
Roger Chartier, "Cardenio before "Cardenno": From Cervantes' historia
to Guillén de Castro's comedia"
Eduardo Olid Guerrero, "Cervantes' The English Spanish Lady and the
history of Elizabeth I in Spain"
Joyce Boro, "'Bum-fidled with a bastard' or Blessed with a Baby:
Fletcher's The Chances and Cervantes' novela De la señora Cornelia"
10:15 - 10:45 Coffee break
10:45 - 12:00 John Fletcher: Shakespeare's Last Collaborator (II)
Campus Center 305
Chair: Suzanne Gossett
Vimala Pasupathi, "Fletcher's Martial Ethos"
Huw Griffiths, "Shall I never see a lusty man again?": John Fletcher's
Men, 1617-1715"
Christopher Hicklin, "Fletcher's Double Falsehood"
12:00 - 1:00 Catered Lunch
1:00 - 2:15 Adaptation from Theobald to the RSC
Campus Center 305
Chair: Sarah Neville
Adam Hooks, "Genuine Shakespeare"
Christopher Marino, "Cardenio Found"
Carla Della Gatta, "Is Spanishness in the Script? Embodying Duende in
The Royal Shakespeare Company's 2011 Cardenio"
2:15 - 2:45 Coffee break
2:45 - 4:00 Theatre as Research: Performing Cardenio
Campus Center 305
Moderator: Terri Bourus
Joe Cacaci
Regina Buccola
Lori Leigh
***break for dinner***
6:00 Concert: Spanish Guitar Music
Campus Center Theater
John Alvarado, Lecturer, Music and Arts Technology, IUPUI
7:00 Performance: The History of Cardenio
Campus Center Theater
10:00 Post-performance talk-back
Campus Center Theater
Confirmed Participant Biographies
Chad Andrews received his B.A. in English from Indiana University
Kokomo in 2008. He is currently in his first year as a graduate
student in English Literature at IUPUI.
Gregory Baum is a PhD candidate in the department of Comparative
Literature at the University of Chicago. His dissertation focuses on
early English encounters with Don Quijote, moving from the first
translation by Thomas Shelton in 1612 through the abridgments and
dramatic adaptations that come at the end of the 17th century.
Joyce Boro is an Associate Professor of English at Université de
Montréal. Her work focuses on the English reception of Spanish
romance. An editor of Lord Berners's Castell of Love (MRTS 2007) and
Margaret Tyler's Mirror of Princely Deeds and Knighthood (MHRA
forthcoming 2012), she has published on translation, Fletcher, and
Grisel y Mirabella.
Terri Bourus is director and producer of the IUPUI/Hoosier Bard
production of The History of Cardenio and a General Editor of the New
Oxford Shakespeare. She is Associate Professor of English Drama in the
IU School of Liberal Arts at IUPUI, and has performed professionally
as actor, singer, and dancer in New York, San Diego, and Chicago.
Regina Buccola is an Associate Professor of English at Roosevelt
University and the Scholar in Residence at Chicago Shakespeare
Theater. She is the editor of A Midsummer Night's Dream: A Critical
Guide and contributor to the Oxford Handbook to the Collected Works of
Thomas Middleton.
Joe Cacaci is a co-artistic director of the Berkshire Playwrights Lab,
as well as the founding director of East Coast Arts, where he produced
twenty world premiere plays over seven seasons. Joe co-produced David
Mamet's Obie-winning play, Edmond at the Provincetown Playhouse. He
has taught television writing in the graduate program of the Columbia
University Film School since 2007. He directed three readings of
earlier drafts of Taylor's Cardenio in 2006-7.
Roger Chartier is Professor at the Collège de France, Directeur
d'études at the Ecole des hautes études en sciences sociales in Paris
and Annenberg Visiting Professor in History at the University of
Pennsylvania. He works on the history of the book, publishing, and
reading in a perspective that associates cultural history and textual
criticism. His latest book translated into English is Inscription and
Erasure: Literature and Written Culture from the Eleventh to the
Eighteenth Century (U of Pennsylvania Press, 2007). In the Fall of
2011 he published in French a book entitled Cardenio entre Cervantes
and Shakespeare. Histoire d'une pièce perdue (Gallimard).
Lacey Conley is a PhD candidate at Loyola University Chicago and will
be completing her degree in March 2012. She received her BA in English
from George Mason University in 2005, and her MA in English from
University College Cork in 2006. Her research interests include early
modern drama, theater history, collaboration, textual criticism, and
editorial theory.
Carla Della Gatta is a doctoral student in the Interdisciplinary PhD
in Theatre and Drama program at Northwestern University. Her research
focuses on the intersection of contemporary Shakespearean productions
and the performance of Latinidad. She studies bilingual Shakespearean
adaptations, the role of Shakespeare Festivals in cultural exchange,
and Spanish Golden Age theatre.
Suzanne Gossett is Professor of English at Loyola University Chicago
and the President of the Shakespeare Association of America. She has
worked on both Shakespeare and Fletcher throughout her distinguished
career, and she is currently a General Textual Editor of the Norton
Shakespeare Third Edition (forthcoming).
Huw Griffiths is a senior lecturer in English at the University of
Sydney. His contribution to the forthcoming OUP Quest for Cardenio
volume traces Double Falsehood's hidden histories of male friendship.
Christopher Hicklin is a Fletcher scholar and Associate Editor of the
Early Modern London Theatres website, an international collaborative
project by the Records of Early English Drama at the University of
Toronto, the Centre for Computing in the Humanities at King's College
London, and the English Department of the University of Southampton.
Adam G. Hooks is an Assistant Professor of English at the University
of Iowa, where he is also an associate at the UI Center for the Book.
His recent publications on Shakespeare and the book trade appear in
Shakespeare Survey and the Oxford Handbook of Shakespeare.
Lori Leigh has a PhD in Theatre from Victoria University of Wellington
in Early Modern Drama and Gender. Lori has worked on productions and
readings of plays both Off-Broadway and regionally, collaborating as a
performer, puppeteer, writer, director, and dramaturg. She has
recently published on rape and Double Falsehood in the journal
Shakespeare and has two chapters in the forthcoming OUP Quest for
Cardenio.
Christopher Marino is former Artistic Director of the Baltimore
Shakespeare Festival, and currently Assistant Professor of Acting at
Illinois State University. He is also a founding member of the Taffety
Punk Theatre Company, which in 2006 performed his adaptation Cardenio
Found in Washington D.C. His recent credits include the Shakespeare
Theatre Company, Primary Stages, Soho Rep, Village Theatre Company,
Mill Mountain Theatre, Utah Shakespeare Festival and others.
Ben Miele is a third-year PhD Candidate in English at the University
of Iowa studying authorship, early modern drama, and the History of
the Book.
John V. Nance has taught at St. John's University in New York City and
is currently a PhD student in early modern literature at Florida State
University. His article "Gross Anatomies: Mapping Matter and Literary
Form" is included in the anthology The Age of Nashe (Ashgate,
forthcoming).
Sarah Neville is an Editing Research Associate at IUPUI and an
Assistant Editor of the New Oxford Shakespeare. She is a General
Textual Editor of the Digital Renaissance Editions and has published
in Shakespeare, Shakespeare Bulletin and CNQ.
Eduardo Olid Guerrero is an Assistant Professor at Muhlenberg College.
His current scholarship explores the early modern relationships
between England and Spain.
Vimala Pasupathi is an Assistant Professor at Hofstra University. Her
work appears in Research Opportunities in Medieval and Renaissance
Drama, Modern Philology, ELH, Early Theatre, Shakespeare, and Celtic
Shakespeare: The Bard and the Borderers (Forthcoming Ashgate 2012).
Gary Taylor is editor and co-author of The History of Cardenio. A
Distinguished Research Professor of English at Florida State
University, he is the lead General Editor of the New Oxford
Shakespeare project, forthcoming from Oxford University Press in 2016.
He has also co-edited John Fletcher's The Tamer Tamed, and was General
Editor of OUP's 2008 edition of The Collected Works of Thomas
Middleton. His The Quest for Cardenio: Shakespeare, Fletcher,
Cervantes and the Lost Play is forthcoming from Oxford University
Press.
Ayanna Thompson is Associate Dean of Faculty and Professor of English
at Arizona State University. She specializes in Renaissance drama and
focuses on issues of race and performance. She is the author of
Passing Strange: Shakespeare, Race, and Contemporary America (Oxford
University Press, 2011) and Performing Race and Torture on the Early
Modern Stage (Routledge, 2008).
http://www.oup.com/us/catalog/general/subject/LiteratureEnglish/?view=usa&sf
=toc&ci=9780199641819
Table of Contents
Setting the Stage
1. Introduction , David Carnegie
2. A History of The History of Cardenio , Gary Taylor
3. After Arden , Brean Hammond
External Evidence: What the Documents Say
4. Cardenio and the Eighteenth-century Shakespeare Canon , Edmund G. C. King
5. Malone's Double Falsehood , Ivan Lupic
6. 'Whether one did Contrive, the other Write, / Or one Fram'd the
Plot, the Other did Indite': Fletcher and Theobald as Collaborative
Writers , Tiffany Stern
Internal Evidence: What Style and Structure Say
7. Looking for Shakespeare in Double Falsehood: Stylistic Evidence ,
MacDonald P. Jackson
8. Can Double Falsehood Be Merely a Forgery by Lewis Theobald? ,
Richard Proudfoot
9. Theobald's Pattern of Adaptation: The Duchess of Malfi and Richard
II , David Carnegie
10. Four Characters in Search of a Subplot: Quixote, Sancho, and
Cardenio , Gary Taylor and John V. Nance
Intertexts and Cross-currents
11. Don Quixote and Shakespeare's Collaborative Turn to Romance , Valerie Wayne
12. The Friend in Cardenio, Double Falsehood, and Don Quixote , Huw Griffiths
13. Transvestism, Transformation, and Text: Cross-dressing and Gender
Roles in Double Falsehood/The History of Cardenio , Lori Leigh
14. In This Good Time: Cardenio and the Temporal Character of
Shakespearean Drama , Matthew Wagner
Cardenio for Performance
15. A Select Chronology of Cardenio , David Carnegie
16. The Embassy, The City, The Court, The Text: Cardenio Performed in
1613 , Gary Taylor
17. Cardenio without Shakespeare , Roger Chartier
18. Nostalgia for the Cervantes-Shakespeare link: Charles David Ley's
Historia de Cardenio , Angel-Luis Pujante
19. Cultural Mobility and Transitioning Authority: Greenblatt's
Cardenio Project , Carla Della Gatta
20. Re-imagining Cardenio , Bernard Richards
21. Will the Real Cardenio Please Stand Up: Review of Richards'
Cardenio in Cambridge , Richard Proudfoot
22. Theobald Restor'd: Double Falsehood at the Union Theatre,
Southwark , Peter Kirwan
23. Restoring Double Falsehood to the Perpendicular for the RSC , Gregory Doran
24. Exploring The History of Cardenio in Performance , David Carnegie
and Lori Leigh
25. Taylor's The History of Cardenio in Wellington , David Lawrence
26. 'May I be metamorphosed': Cardenio by Stages , Terri Bourus
Burt Yates Pope statue
The Dunciad and Shakespeare
The DUNCIAD, sic. MS. It may well be disputed whether this be a right reading:
Ought it not to be spelled Dunceiad, as the Etymology evidently demands? Dunce
with an e, therefore Dunceiad with an e. That accurate and punctual Man of Letters,
the Restorer of Shakespeare, constantly observes the preservation of this very
Letter e, in spelling the name of his beloved Author, and not like his common
careless Editors, with the omission of one, nay sometimes of two ee’s, [as Shakspear]
which is utterly unpardonable. ‘Nor is the neglect of Single Letters so trivial to some
it may appear; the alteration whereof in a learned language is an Atchievement [sic]
that brings honour to the Critic who advances it; and Dr. Bentley will be
remembered to posterity for his performances of this sort as long as the world shall
have any esteem for the remains of Menander and Philemon.’ Theobald. <Cf. A i1 n.>
This is surely a slip in the learned author of the foregoing note; there having been
produced by an accurate Antiquary an Autograph of Shakspeare [sic] himself,
whereby it appears that he spelled his own name without the first e. And upon this
authority it was, that those most Critical Curators of his Monument in Westminster
Abbey erased the former wrong reading, and restored the true spelling on a new
piece of old AEgyptian Granite. Not only for this do they deserve our thanks, but for
exhibiting on the same Monument for the Specimen of an Edition of an author in
Marble; where (as may be seen on comparing the Tomb with the Book) in the space
of five lines, two words and a whole Verse are changed, and it is to be hoped that
will there stand, and outlast whatever hath been hitherto done in Paper; as for the
future, our Learned Sister University (the other eye of England) is taking care to
perpetuate a Total new Shakespear [sic], at the Clarendon Press. BENTL.
Title of the book on the title page is
The Poems of Alexander Pope: A One-Volume Edition of the Twickenham Text with
Selected Annotations
A two-fold “edition” that keeps getting unfolded and refolded: of the author and of
the author’s works / name. Somehow the marble subjectile cannot encompass the
author and an edition of his works that has both the title and the author on the
“scroll” (itself a facsimile of the printed edition).
Marble versus paper as support (relative durability) for correct spelling of
Shakespeare’s name. Marble versus granite. Stone can be “erased” (like paper).
Marble scroll as support for errant version of the spelling of the name replaced by
the correctly spelled name, but that name in turn replaced by the title of the book,
the edition.
The status as an edition; the marble scroll as an edition.
Shakespeare points with his hand. He has an indexical relation to his own
subjectile—a scroll displaced from front to back) that returns his works as a double
work of art (the statue as a double edition, or edition within an edition—or
Shakespeare “incarnated / entombed” as author and as editor).
From W Abbey website:
William Shakespeare (l564-1616) was buried in Holy Trinity Church, Stratford upon
Avon in Warwickshire (see www.shakespeare.org.uk) and it was not until 1740 that
a memorial statue to him was erected in Poets' Corner in Westminster Abbey.
Shortly after Shakespeare's death there was much talk about removing his remains
from Stratford to the Abbey but the idea was soon abandoned.This idea gave rise to
the poet Ben Jonson's lines "My Shakespeare, rise! I will not lodge thee by Chaucer
or Spenser, or bid Beaumont lie a little further on to make thee room".
The life-size white marble statue, shown in the dress of his period, was erected by
the Earl of Burlington, Dr Mead, Alexander Pope and Mr Martin. It was designed by
William Kent and executed by Peter Scheemakers. The inscription above the head of
the statue can be translated :
"William Shakespeare [erected] 124 years after [his] death by public esteem".
The carved heads of Queen Elizabeth I, Henry V and Richard III appear on the
pedestal. The figure leans his elbow on a pile of books (they have no titles) and his
left hand points to a scroll on which are painted a variant of Prospero's lines from
'The Tempest':
The Cloud capt Tow'rs,
The Gorgeous Palaces,
The Solemn Temples,
The Great
Globe itself,
Yea all which it Inherit,
Shall Dissolve;
And like the baseless Fabrick of a
Vision
Leave not a wreck behind.
Some of the black paint has rubbed off this inscription so some letters are now
incomplete. The inscription at the base of the memorial (giving his name, dates and
burial place) is a modern addition. There is no other wording on the memorial.
Photographs of the monument can be purchased from Westminster Abbey Library.
Further reading:
Oxford Dictionary of National Biography 2004
"Poets' Corner in Westminster Abbey" by James Wilkinson, 2007 (available from the
Westminster Abbey Shop).
http://www.westminster-abbey.org/our-history/people/william-shakespeare
“Anonymous” offers an ingenious way to circumvent such objections: there must
have been a conspiracy to suppress the truth of de Vere’s authorship; the very
absence of surviving evidence proves the case. In dramatizing this conspiracy,
Mr. Emmerich has made a film for our time, in which claims based on conviction
are as valid as those based on hard evidence. Indeed, Mr. Emmerich has treated
fact-based arguments and the authorities who make them with suspicion.
Hollywood Dishonors the Bard
By JAMES SHAPIRO October 16, 2011
ROLAND EMMERICH’S film “Anonymous,” which opens next week, “presents a
compelling portrait of Edward de Vere as the true author of Shakespeare’s plays.”
That’s according to the lesson plans that Sony Pictures has been distributing to
literature and history teachers in the hope of convincing students that
Shakespeare was a fraud. A documentary by First Folio Pictures (of which Mr.
Emmerich is president) will also be part of this campaign.
Sony Pictures’ study guide is keen to reinforce this reductive view of what the
plays are about, encouraging students to search Shakespeare’s works for
“messages that may have been included as propaganda and considered
seditious.” A more fitting title for the film might have been “Triumph of the Earl.”
In offering this portrait of the artist, “Anonymous” weds Looney’s class-obsessed
arguments to the political motives supplied by later de Vere advocates, who
claimed that de Vere was Elizabeth’s illegitimate son and therefore the rightful
heir to the English throne. By bringing this unsubstantiated version of history to
the screen, a lot of facts — theatrical and political — are trampled.
Supporters of de Vere’s candidacy who have awaited this film with excitement
may come to regret it, for “Anonymous” shows, quite devastatingly, how high a
price they must pay to unseat Shakespeare.
Shakespeare Statue, North Entrance (marble)
William Herbert was a close personal friend of Francis Bacon to
whom the Shake-speare Folio of 1623 was dedicated, along with
his brother Phillip, the Earle of Montgomery.In 1623 his title
changed from Earle of Pembroke to Lord Chamberlaine. His two
titles can be seen in the 1623 Folio dedication.
http://www.sirbacon.org/links/herbert.htm