By Roger Chartier
How may still we learn a textual content that doesn't exist, or current a play the manuscript of that's misplaced and the identification of whose writer can't be confirmed for definite? Such is the enigma posed by means of Cardenio - a play played in England for the 1st time in 1612 or 1613 and attributed 40 years later to Shakespeare (and Fletcher). Its plot is that of a 'novella' inserted into Don Quixote, a piece that circulated through the significant international locations of Europe, the place it was once translated and tailored for the theatre. In England, Cervantes' novel used to be identified and pointed out even earlier than it used to be translated in 1612 and had encouraged Cardenio. yet there's extra at stake during this enigma. This used to be a time whilst, thank you in general to the discovery of the printing press, there has been a proliferation of discourses. there has been usually a response while it used to be feared that this proliferation could develop into over the top, and lots of writings have been weeded out. no longer all have been destined to outlive, particularly performs for the theatre, which, in lots of circumstances, have been by no means released. This style, positioned on the backside of the literary hierarchy, used to be compatible to the lifestyles of ephemeral works. in spite of the fact that, if an writer grew to become recognized, the will for an archive of his works triggered the discovery of textual relics, the recovery of remainders ruined by means of the passing of time or, with the intention to fill within the gaps, every now and then, even the fabrication of forgeries. Such was once the destiny of Cardenio within the eighteenth century. Retracing the background of this play for this reason leads one to ask yourself in regards to the prestige, long ago, of works at the present time judged to be canonical. during this ebook the reader will rediscover the malleability of texts, reworked as they have been by means of translations and diversifications, their migrations from one style to a different, and their altering meanings developed through their numerous publics. because of Roger Chartier's forensic talents, clean gentle is forged upon the secret of a play missing a textual content yet no longer an writer.
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Additional info for Cardenio between Cervantes and Shakespeare: The Story of a Lost Play
The date of its composition remains uncertain. See Kyd, The Spanish Tragedy, ed. Philip Edwards, p. xlvii. 20 Kyd, The Spanish Tragedy, ed. J. R. Mulryne, Act IV, scene iv, p. 121. , Act I, scene iv, pp. 28–9. 22 A Pleasant Conceited Comedie Called Loves Labours Lost. As it was presented before her Highness this last Christmas. Newly corrected and augmented by W. W. for Cuthbert Burby, 1598. See David Scott Kastan, Shakespeare and the Book, Cambridge: Cambridge University Press, 2001, pp. 31–2.
In order to avoid the anger of his father, should the latter learn of this adventure, he departs for Cordova with Cardenio, on the pretext of purchasing some horses there. In Cordova, inspired by Cardenio's praises for Luscinda, Fernando asks to be allowed to set eyes on her. 70 Fernando's desire is once again ignited, as much by Luscinda's beauty as by the love letters that she has sent to Cardenio and that he, imprudently, lends to his friend Fernando to read. Don Quixote's interruption prevents Cardenio from completing his story.
Norton, 1997, pp. 741–802. 24 Roger Chartier, ‘Capter la parole vive’, in Parole et musique: aux origines du dialogue humain, ed. Stanislas Dehaene and Christiane Petit, Paris: Odile Jacob, 2009, pp. 169–89 (in particular p. 170). 25 Bartholomew de las Casas, The Spanish Colonie, or Briefe Chronicle of the Acts and gestes of the Spaniards in the West Indies, called the newe World, London, imprinted for William Brome, 1581. Cf. Bartolomé de las Casas, La Destruction des Indes , trans. Jacques de Miggrode , engravings by Théodore de Bry , rev.