How should we read a text that does not exist, or present a play the manuscript of which is lost and the identity of whose author cannot be established for certain? Such is the enigma 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). Its plot is that of a novella inserted into Don Quixote, a work that circulated throughout the major countries of Europe, where it was translated and adapted for the theatre. In England, Cervantes novel was known and cited even before it was translated in 1612 and had inspired Cardenio. But there is more at stake in this enigma. This was a time when, thanks mainly to the invention of the printing press, there was a proliferation of discourses. There was often a reaction when it was feared that this proliferation would become excessive, and many writings were weeded out. Not all were destined to survive, in particular plays for the theatre, which, in many cases, were never published. This genre, situated at the bottom of the literary hierarchy, was well suited to the existence of ephemeral works. However, if an author became famous, the desire for an archive of his works prompted the invention of textual relics, the restoration of remainders ruined by the passing of time or, in order to fill in the gaps, in some cases, even the fabrication of forgeries. Such was the fate of Cardenio in the eighteenth century. Retracing the history of this play therefore leads one to wonder about the status, in the past, of works today judged to be canonical. In this book the reader will rediscover the malleability of texts, transformed as they were by translations and adaptations, their migrations from one genre to another, and their changing meanings constructed by their various publics. Thanks to Roger Chartier s forensic skills, fresh light is cast upon the mystery of a play lacking a text but not an author.

How should we read a text that does not exist, or present a playthe manuscript of which is lost and the identity of whose authorcannot be established for certain?Such is the enigma posed by Cardenio - a playperformed in England for the first time in 1612 or 1613 andattributed forty years later to Shakespeare (and Fletcher). Itsplot is that of a 'novella' inserted into Don Quixotea work that circulated throughout the major countries of Europewhere it was translated and adapted for the theatre. In EnglandCervantes' novel was known and cited even before it wastranslated in 1612 and had inspired Cardenio.But there is more at stake in this enigma. This was a time whenthanks mainly to the invention of the printing press, there was aproliferation of discourses. There was often a reaction when it wasfeared that this proliferation would become excessive, and manywritings were weeded out. Not all were destined to survive, inparticular plays for the theatre, which, in many cases, were neverpublished. This genre, situated at the bottom of the literaryhierarchy, was well suited to the existence of ephemeral works.However, if an author became famous, the desire for an archive ofhis works prompted the invention of textual relics, the restorationof remainders ruined by the passing of time or, in order to fill inthe gaps, in some cases, even the fabrication of forgeries. Suchwas the fate of Cardenio in the eighteenth century.Retracing the history of this play therefore leads one to wonderabout the status, in the past, of works today judged to becanonical. In this book the reader will rediscover the malleabilityof texts, transformed as they were by translations and adaptationstheir migrations from one genre to another, and their changingmeanings constructed by their various publics. Thanks to RogerChartier's forensic skills, fresh light is cast upon themystery of a play lacking a text but not an author.

Introduction READING A TEXT THAT DOES NOT EXISTChapter I CARDENIO AT COURTLONDON, 1613Spain in EnglandDon Quixote in translationWhy Cardenio?Dorotea's storyHappy endingChapter II CARDENIO AND DON QUIXOTESPAIN, 1605-1608Don Quixote as he is depicted in his bookDouble marriagesDon Quixote 'gracioso de comedia'The madman, the poet and the princeSeeming and being: an exchange of sonsChapter III A FRENCH CARDENIOPARIS, 1628 AND 1638Don Quixote in FranceLuscinde's marriageThe mad fits of CardenioThe mad fits of Don QuixoteGuérin de Bouscal: the queen of MiconmiconThe bearded dueña and the wooden horseNovel, novellas and theatreChapter IV CARDENIO IN THE REVOLUTIONLONDON, 1653Writing in collaboration. Fletcher and ShakespeareThe famous history of the life of King Henry VIIIThe two noble cousinsA play never publishedDon Quixote in the revolutionFrom Shelton to Gayton. Cardenio in verseChapter V CARDENIO REDISCOVEREDLONDON, 1727The miracle of the Theatre RoyalPublishing and politicsTheobald, editor and authorPreliminaries, dedications and privilegeTheatrical enthusiasm. An authentically Shakespearean playEditorial prudence. A play excluded from the canonChapter VI REPRESENTATIONS OF CARDENIOENGLAND, 1660-1727Images and words. The illustrated Spanish textThe engravings of translationsDon Quixote without Cardenio. The booklets sold by peddlersCardenio abridgedDon Quixote in serial formCardenio in the theatre. First D'Urfey, then TheobaldChapter VII CARDENIO ON STAGELONDON, 1727The double betrayalThe interrupted marriageRuses and a denouement1727, 1660, 1613Double Falshood, a mystification or an adaptation?Epilogue. CARDENIO FEVERThe manuscript recoveredHow should a lost play be staged?Cardenio publishedThe discrepancy between different periodsPostscript THE PERMANENCE OF WORKS AND THE PLURALITY OFTEXTSAPPENDICESNotesIndex of namesTables of Illustrations