Brean Hammond
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199641819
- eISBN:
- 9780191749025
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199641819.003.0003
- Subject:
- Literature, 16th-century and Renaissance Literature, Shakespeare Studies
This chapter considers the reaction to the publication, in March 2010, of the Arden edition of Double Falsehood. It takes into account discussion in the press and in the ‘blogosphere’, as well as ...
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This chapter considers the reaction to the publication, in March 2010, of the Arden edition of Double Falsehood. It takes into account discussion in the press and in the ‘blogosphere’, as well as academic reviews that have so far appeared, and considers what controversies have been generated, what new knowledge has been gained, and what are the principal unanswered questions in the wake of this publication. The chapter offers some speculative answers to some of those questions.Less
This chapter considers the reaction to the publication, in March 2010, of the Arden edition of Double Falsehood. It takes into account discussion in the press and in the ‘blogosphere’, as well as academic reviews that have so far appeared, and considers what controversies have been generated, what new knowledge has been gained, and what are the principal unanswered questions in the wake of this publication. The chapter offers some speculative answers to some of those questions.
Richard Proudfoot
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199641819
- eISBN:
- 9780191749025
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199641819.003.0008
- Subject:
- Literature, 16th-century and Renaissance Literature, Shakespeare Studies
This chapter rejects the allegation, current since 1728, that Double Falsehood is Theobald’s original composition, masquerading as Shakespeare. Connection with the plays written by Shakespeare and ...
More
This chapter rejects the allegation, current since 1728, that Double Falsehood is Theobald’s original composition, masquerading as Shakespeare. Connection with the plays written by Shakespeare and Fletcher between c.1602 and c.1614, especially their two collaborations, Henry VIII and The Two Noble Kinsmen, is demonstrated by close examination of the 100 line-end polysyllables in the verse scenes of Double Falsehood (a quantifiable feature of versification preserved by Theobald at rates of 60% and 40% respectively in his adaptations of Shakespeare’s Richard II (1715) and Webster’s The Duchess of Malfi (as The Fatal Secret, 1735)). Theobald’s ‘falsehood’ was to make a loud and very public claim for Shakespeare as sole author of a play, putatively the ‘lost’ Cardenio, that he had good reason to believe — but (too) strenuously denied — also contained the work of FletcherLess
This chapter rejects the allegation, current since 1728, that Double Falsehood is Theobald’s original composition, masquerading as Shakespeare. Connection with the plays written by Shakespeare and Fletcher between c.1602 and c.1614, especially their two collaborations, Henry VIII and The Two Noble Kinsmen, is demonstrated by close examination of the 100 line-end polysyllables in the verse scenes of Double Falsehood (a quantifiable feature of versification preserved by Theobald at rates of 60% and 40% respectively in his adaptations of Shakespeare’s Richard II (1715) and Webster’s The Duchess of Malfi (as The Fatal Secret, 1735)). Theobald’s ‘falsehood’ was to make a loud and very public claim for Shakespeare as sole author of a play, putatively the ‘lost’ Cardenio, that he had good reason to believe — but (too) strenuously denied — also contained the work of Fletcher
