273:. Wilmott, while praising the "flashes of psychological insight" in the work, found himself unconvinced by the attribution to Shakespeare, noting the absence of comic interludes, the play's uncharacteristic structure and, above all, the absence of "heart-stopping moments of poetry". Certainly some typical Shakespearean plot elements, such as women disguised as men, a disaffected younger brother and a switch from scenes at court to one in the country are to be found, but the possibility remains that these were included by another as an "homage" to Shakespeare's style, or as a deliberate attempt to deceive. The critic Lyn Gardner found the work stageworthy, but also doubted the attribution, observing that it was "more of a curiosity than a classic".
170:, with a "Note on this Edition" stating that the edition "makes its own cautious case for Shakespeare's participation in the genesis of the play," followed with speculations regarding how such a case might, in an imagined future, either be "substantiated beyond all doubt" or "altogether disproved". Arden editor, Brean Hammond, in the introduction, states that recent analysis based on linguistics and style "lends support" to the idea that Shakespeare and Fletcher's hand can be detected in the 18th century edition. Hammond then expresses the hope that his edition "reinforces the accumulating consensus that the lost play has a continuing presence in its eighteenth-century great-grandchild." Author and critic Kate Maltby cautions against promoting
556:). Violante has disguised herself as a boy, and has become a servant to a master shepherd. Julio is also in the neighborhood, wandering distractedly, fighting with shepherds and stealing their food. The Master shepherd is a rare character in traditional English drama, who can actually recognize a woman when she's disguised as a boy. He makes a crude and unwelcome sexual advance toward Violante, which is interrupted by the arrival of Roderick. Henriquez has learned that Leonora has taken refuge in a nearby nunnery, and has gained his brother's help in a plan to retrieve her. Roderick has agreed, in part to keep an eye on his younger brother; he insists that Leonora be treated honourably, and given her choice whether to return with them.
137:, and from subsequent generations of critics as well. Nonetheless, Theobald is regarded by critics as a far more serious scholar than Pope, and as a man who "more or less invented modern textual criticism". The evidence of Shakespeare's connection with a dramatization of the Cardenio story comes from the entry in the Stationers' Register, but Theobald could not have known of this evidence, "since it was not found until long after his death". There appears to be agreement among scholars that the 18th century
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appalled and repelled by this, but her father Don
Bernardo wants the family connection with the nobility that their marriage will produce. Leonora sends a letter to Julio, and he returns in time to frustrate the wedding. Julio challenges Henriquez with his sword but is overwhelmed and ejected by Bernardo's servants; Leonora faints and is carried out. Bernardo discovers a dagger and a suicide note on his daughter's person, revealing her final determination to resist the forced marriage.
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Leonora, a foolish trust. Henriquez has developed an infatuation with
Violante, a beautiful and virtuous local girl of humble birth; she rejects his inappropriate solicitations. Henriquez forces himself upon her. Afterward, confronting his guilty conscience over his "brutal violence", Henriquez tries to convince himself that his act wasn't a rape, with the feeble rationalization that Violante did not cry out, however much she struggled physically.
204:, with Theobald's contribution being "very minor". By aggregating dozens of psychological features of each playwright derived from validated linguistic cues, the researchers found that they were able to create a "psychological signature" (i.e., a high-dimensional psychological composite) for each authorial candidate. These psychological signatures were then mathematically compared with the psycholinguistic profile of
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208:. This allowed the researchers to determine the probability of authorship for Shakespeare, Fletcher, and Theobald. Their results challenge the suggestion that the play was a mere forgery by Theobald. Additionally, these results provided strong evidence that Shakespeare was the most likely author of the first three acts of
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Julio and the two young women, each in a distraught state of mind, depart mysteriously; the fathers
Camillo and Bernardo are left to confront their own distress. Roderick arrives, and comforts the two old men. Their unhappiness works something of a reversal in each man's character: the formerly mild
568:
Theobald takes a very different approach to the pastoral genre and theme, compared to
Shakespeare and Fletcher. In the pastoral tradition exploited by the earlier dramatists, the retreat to the primitive world of nature is a return to a rough but morally benign innocence. Theobald worked a century
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in Spain". The opening scene introduces Duke Angelo and his elder son and heir, Roderick. Roderick is the dutiful and virtuous son; the Duke also has a younger son, Henriquez, a scapegrace and prodigal who is absent from the ducal court, pursuing his own interests. Henriquez has just written his
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Julio's father
Camillo is not happy about his son's mission to court. Julio wants to arrange a marriage with Leonora; his intended bride is agreeable, and the call to court delays Julio's plan to obtain the consent of both their fathers. Julio leaves Henriquez behind him to further his suit with
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His pangs of guilt do not prevent
Henriquez from pursuing another scheme: in Julio's absence he is courting Leonora. (Henriquez admits in a soliloquy that he sent Julio away with this in mind. His pursuit of both Violante and Leonora is the "double falsehood" of the title.) The young woman is
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father a letter, requesting gold to buy a horse; Henriquez will send his friend Julio to court to receive payment. The Duke and
Roderick decide to use Julio for their own purposes: they will detain him at court "some few days...and assay to mould him / An honest spy" upon Henriquez's "riots".
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Roderick is also clever enough to piece together the larger situation; he manages to bring Julio, Leonora, Violante, and
Henriquez back home altogether. He engineers a grand confrontation and reconciliation scene at the play's end: Julio and Leonora and happily re-united, and a now-repentant
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288:, Shakespeare's 'lost play' re-imagined." The text included "restored" elements of the plot based on Cervantes. The production received good reviews, but the critic Michael Billington believed that it was more suggestive of Fletcher than Shakespeare.
221:
322:, an attempt to reverse Theobald's alterations of the original. Taylor's text along with detailed evidence supporting the view that Theobald had used the original playscript was published in a collection of essays the following year.
311:, director Jon Ciccarelli modified the character names to match up with their Cervantes counterparts along with adding scenic material, music, stage combat choreography and dance to further flesh out the central Cardenio story.
105:. Theobald's play changes the names of the main characters from the Spanish original: Cervantes' Cardenio becomes Julio, his Lucinda becomes Leonora; Don Fernando is turned into Henriquez, and Dorothea into Violante.
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on 9 September 1653, credits the work to "Mr
Fletcher & Shakespeare". In all, Moseley added Shakespeare's name to six plays by other writers, attributions which have always been received with scepticism.
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on 24 April 1749, and performed again on 6 May that year. Later performances occurred in 1781 and 1793, and perhaps in 1770 also. After the first edition of 1728, later editions appeared in 1740 and 1767.
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published; William
Shakespeare collaborated on two other plays with Fletcher; A play which was first discovered nearly 300 years ago has been credited to William Shakespeare," BBC News website, 15 March
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make the "grandiose claim" found on advertisements for a production of the play that invite people to come and 'Discover a Lost Shakespeare'. She points out that if a young person sees a production of
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In traditional pastoral, it is more commonly the well-fed denizens of court and city (in contrast to those who live and work in a closer relationship with nature) who are morally corrupt and sensual.
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Boyd, Ryan; Pennebaker, James W. (8 April 2015). "Did Shakespeare Write Double Falsehood? Identifying Individuals by Creating Psychological Signatures With Text Analysis".
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later in a different social and cultural frame; his shepherds are tougher, their life more bleak. Violante is surprised at the Master shepherd's sexual advances:
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It's an enjoyable evening but more of a curiosity than a classic. Shakespeare? You'll have to decide for yourselves, but if it is, then I'm Virginia Woolf.
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In Act IV the scene shifts from court and town to the wilds where the shepherds keep their flocks (the same shift to the
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series. In January 2011 this version, advertised as by "William Shakespeare and John Fletcher", was presented at the
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Henriquez wants to marry Violante to make up for his crime. The three fathers acquiesce to this arrangement.
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that reported statistical and psychological evidence suggesting Shakespeare and Fletcher may have coauthored
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and adding a new frame story that follows Fletcher and Shakespeare’s collaboration in composing the play.
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73:. Some authors believe that it may be an adaptation of a lost play by Shakespeare and Fletcher known as
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The 1728 edition provided a cast list for the main speaking parts in the original production:
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The Creation and Re-Creation of Cardenio: Transforming Shakespeare, Transforming Cervantes
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The text was published as being by " William Shakespeare, John Fletcher; edited by
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The play's minor roles, of servants, messengers, and others, were omitted from the
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with exaggerated statements. She points out that nowhere does the Arden editor of
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Camillo hardens his nature, while the formerly harsh Bernardo dissolves in tears.
212:, while Fletcher likely made key contributions to the final two acts of the play.
307:, the lost Shakespeare". While the basic script adhered to the same structure of
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met with suspicion, and even accusations of forgery, from contemporaries such as
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1110:"Shakespeare troup staging play in Fort Lee, Hackensack with dubious DNA"
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with Shakespeare: the title page of his edition of 1647, entered at the
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1031:"Whether this is a lost Shakespeare or not, the play's the thing"
808:"A new William Shakespeare play? Long lost play to be published"
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A new edition of the play was published in March 2010 in the
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by Jonathan Fisher and Anna Miles, using an adapted text of
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578:(Whose best feed is coarse bread; whose bev'rage, water),
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The play was first produced on 13 December 1727 at the
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Theobald's claim of a Shakespearean foundation for his
612:. Association for Psychological Science. 9 April 2015.
610:
Shakespeare’s Plays Reveal His Psychological Signature
608:
Editors of the Association for Psychological Science.
1888:† = Not published in the Beaumont and Fletcher folios
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Who would have thought, that such poor worms as they,
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The 1727 play is based on the "Cardenio" episode in
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is a 1727 play by the English writer and playwright
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1112:. The Daily Record of Bergen County. Archived from
725:Stephan Kukowski, "The Hand of John Fletcher in
314:In 2012 Terri Bourus directed a production of
3489:The Adventures of Don Coyote and Sancho Panda
3061:
1911:
1332:The Masque of the Inner Temple and Gray's Inn
1203:
673:William Shakespeare and 'The Birth of Merlin'
147:of 1612–13, and that the original authors of
8:
1694:Four Plays, or Moral Representations, in One
675:. Beaverton, OR: Alioth Press. p. 270.
641:
639:
550:mode that Shakespeare employs in Act IV of
141:is not a forgery, but is based on the lost
101:'s English translation, which appeared in
3193:Don Quichotte auf der Hochzeit des Comacho
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1918:
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1126:Terri Bourus and Gary Taylor, eds. 2013.
964:CS1 maint: multiple names: authors list (
931:(3rd ed.). London: A & C Black.
929:Double falsehood or The distressed lovers
712:Papers of the Modern Language Association
625:and the Verbal Parallels with Shelton's
347:
1013:'Double Falshood' performance programme
596:
954:
944:
295:of New Jersey staged an adaptation of
3124:Dulcinea del Toboso / Aldonza Lorenzo
2670:Complete Works of William Shakespeare
7:
1744:with Massinger, Chapman & Jonson
842:Maltby, Kate. "Fake Shakes(peare)".
806:Mike Collett-White (16 March 2010).
526:The play is set in "the province of
3209:Don Chisciotte alle nozze di Gamace
3030:
927:Hammond, ; edited by Brean (2010).
3156:The Comical History of Don Quixote
2845:Shakespeare's influence on Tolkien
1754:with Massinger, Ford & Webster
194:published research in the journal
25:
3497:El Quijote de Miguel de Cervantes
3481:Zukkoke Knight - Don De La Mancha
224:Title page of the 3rd edition of
36:Title page of the 1st edition of
3029:
3020:
3019:
2373:
1325:The Knight of the Burning Pestle
1171:
1157:Images of 2011 London production
1108:Beckerman, Jim (7 August 2012).
1029:Gardner, Lyn (22 January 2011).
710:, by Shakespeare and Fletcher,"
646:Maltby, Kate (1 February 2011).
502:The cast's Wilks and Booth were
299:as part of their summer outdoor
3366:Don Chisciotte and Sancio Panza
856:Kate Maltby (1 February 2011).
581:Should have so much rank blood?
3573:Alonso Fernández de Avellaneda
3446:The Man Who Killed Don Quixote
3185:Don Quichotte chez la Duchesse
2850:Works titled after Shakespeare
325:As part of their 2024 season,
1:
3613:Pierre Menard, Author of the
3010:Shakespeare and other authors
1866:(Shakespeare & Fletcher?)
1641:with Beaumont & Massinger
983:. Arden Shakespeare. London:
813:The Christian Science Monitor
788:. Arden Shakespeare. (2010).
767:. Arden Shakespeare. (2010).
746:. Arden Shakespeare. (2010).
633:, Vol. 51 (1998), pp. 95–106.
329:produced a new adaptation of
192:University of Texas at Austin
3606:The Truth about Sancho Panza
3585:List of works influenced by
3382:Don Quijote cabalga de nuevo
3104:Alonso Quixano / Don Quixote
2892:Shakespeare Birthplace Trust
1835:Beaumont and Fletcher folios
979:Hammond, Brean, ed. (2010).
303:season billing the show as "
2698:English Renaissance theatre
2541:The Second Maiden's Tragedy
2520:The Merry Devil of Edmonton
2052:The Two Gentlemen of Verona
1825:English Renaissance theatre
1531:Rule a Wife and Have a Wife
1181:public domain audiobook at
240:. The drama was revived at
216:Performance and publication
3685:
3669:Plays based on Don Quixote
3406:Don Quixote, Knight Errant
3201:Sancho Pança dans son isle
2866:Folger Shakespeare Library
2412:The Phoenix and the Turtle
2002:The Merry Wives of Windsor
1665:with Massinger & Field
293:Hudson Shakespeare Company
186:In 2015, Ryan L. Boyd and
3310:Incident from Don Quixote
3004:
2885:Royal Shakespeare Theatre
2880:Royal Shakespeare Company
2371:
2009:A Midsummer Night's Dream
1953:All's Well That Ends Well
1886:
1580:The Custom of the Country
1227:
1162:"'Lost' Shakespeare play
714:, Vol. 84 (1969), p. 509.
278:Royal Shakespeare Company
234:Theatre Royal, Drury Lane
2023:Pericles, Prince of Tyre
1788:(Middleton & Rowley)
1759:The Fair Maid of the Inn
1670:The Honest Man's Fortune
1559:The Little French Lawyer
1433:The Faithful Shepherdess
898:10.1177/0956797614566658
656:. London. Archived from
301:Shakespeare in the Parks
3664:Plays by Lewis Theobald
3599:The History of Cardenio
3524:La Leyenda de la Mancha
3345:(1955–1969, unfinished)
2031:The Taming of the Shrew
1863:The History of Cardenio
1749:Rollo, Duke of Normandy
1496:The Humorous Lieutenant
733:, Vol.43 (1990), p. 27.
280:presented a version of
2713:Lord Chamberlain's Men
2624:The Passionate Pilgrim
2397:comparison to Petrarch
2016:Much Ado About Nothing
1995:The Merchant of Venice
1785:Wit at Several Weapons
1130:. Palgrave Macmillan.
671:Dominik, Mark (1991).
327:Shakespeare by the Sea
229:
117:was the first to link
41:
3654:Shakespeare apocrypha
3114:Cide Hamete Benengeli
3094:imaginary characters,
2903:Shakespeare Institute
2872:Shakespeare Quarterly
2391:Shakespeare's sonnets
2059:The Two Noble Kinsmen
1712:The Two Noble Kinsmen
1646:Thierry and Theodoret
1220:Beaumont and Fletcher
1152:Full text of the play
885:Psychological Science
446:Master of the Flocks
318:'s "unadaptation" of
265:, by theatre company
223:
197:Psychological Science
164:The Arden Shakespeare
35:
3618:" (1939 short story)
3608:" (1931 short story)
3238:The Impossible Dream
2759:Spelling of his name
2599:Vortigern and Rowena
2577:Thomas Lord Cromwell
2157:Troilus and Cressida
2087:Antony and Cleopatra
1981:Love's Labour's Lost
1967:The Comedy of Errors
1739:The Maid in the Mill
1677:The Queen of Corinth
1587:The Lovers' Progress
1517:The Wild Goose Chase
1039:. London. p. 42
858:"Fake Shakes(peare)"
564:Versions of pastoral
291:In August 2012, the
123:Stationers' Register
3454:He Dreams of Giants
3414:Honor de cavalleria
3077:Miguel de Cervantes
2983:Richard Shakespeare
2965:Gilbert Shakespeare
2897:Shakespeare's Globe
2802:Authorship question
2797:Attribution studies
2764:Stratford-upon-Avon
2606:A Yorkshire Tragedy
2584:Thomas of Woodstock
2570:The Spanish Tragedy
2511:Love's Labour's Won
2503:The London Prodigal
2460:The Birth of Merlin
2419:The Rape of Lucrece
2405:A Lover's Complaint
2285:Quarto publications
1988:Measure for Measure
1927:William Shakespeare
1875:(possibly based on
1684:The Knight of Malta
1573:The Double Marriage
1503:The Island Princess
1415:The Noble Gentleman
1260:William Shakespeare
1075:Billington, Michael
838:8 July 2015 at the
660:on 5 February 2011.
236:, and published in
188:James W. Pennebaker
157:William Shakespeare
89:Miguel de Cervantes
71:William Shakespeare
58:The Distrest Lovers
49:(archaic spelling:
3631:Super Don Quix-ote
3129:Ginés de Pasamonte
2977:Edmund Shakespeare
2935:Hamnet Shakespeare
2832:Screen adaptations
2555:Sir John Oldcastle
2453:Arden of Faversham
1594:The Spanish Curate
1524:A Wife for a Month
1394:A King and No King
1387:The Maid's Tragedy
1116:on 19 August 2014.
957:has generic name (
846:. 1 February 2011.
844:The Spectator blog
731:Shakespeare Survey
648:"Fake Shakespeare"
631:Shakespeare Survey
621:A. Luis Pujante, "
384:, his Younger Son
276:In April 2011 the
230:
42:
3641:
3640:
3634:(1984 video game)
3623:Monsignor Quixote
3529:Molinos de viento
3398:Lost in La Mancha
3043:
3042:
2947:Elizabeth Barnard
2911:
2910:
2640:
2639:
2369:
2368:
2067:The Winter's Tale
1893:
1892:
1845:Humphrey Robinson
1811:
1810:
1793:The Laws of Candy
1729:Wit Without Money
1615:The Elder Brother
1482:The Loyal Subject
1440:The Woman's Prize
1408:The Scornful Lady
1401:Love's Pilgrimage
1077:(28 April 2011).
1064:, Antonio Alamo".
994:978-1-903436-77-6
784:Hammond, Brean.
742:Hammond, Brean.
706:John Freehafer, "
553:The Winter's Tale
497:dramatis personae
493:
492:
255:Arden Shakespeare
16:(Redirected from
3676:
3558:(1976 sculpture)
3374:Man of La Mancha
3236:(1964 musical, "
3233:Man of La Mancha
3164:Double Falsehood
3070:
3063:
3056:
3047:
3033:
3032:
3023:
3022:
2971:Joan Shakespeare
2953:John Shakespeare
2856:
2837:Shakespeare and
2548:Sejanus His Fall
2515:
2475:Double Falsehood
2442:
2426:Venus and Adonis
2377:
2150:Titus Andronicus
2136:Romeo and Juliet
1940:
1920:
1913:
1906:
1897:
1872:Double Falsehood
1840:Humphrey Moseley
1722:The Night Walker
1699:with Shakespeare
1314:
1270:Thomas Middleton
1247:Philip Massinger
1233:Francis Beaumont
1212:
1205:
1198:
1189:
1178:Double Falsehood
1175:
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1164:Double Falsehood
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1011:(January 2011),
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981:Double Falsehood
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786:Double Falsehood
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765:Double Falsehood
763:Hammond, Brean.
761:
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744:Double Falsehood
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727:Double Falsehood
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623:Double Falsehood
619:
613:
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518:played Leonora.
462:Second Shepherd
373:, his Elder Son
348:
335:Double Falsehood
309:Double Falsehood
297:Double Falsehood
282:Double Falsehood
210:Double Falsehood
206:Double Falsehood
202:Double Falsehood
181:Double Falsehood
176:Double Falsehood
172:Double Falsehood
168:Double Falsehood
139:Double Falsehood
115:Humphrey Moseley
46:Double Falsehood
21:
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3561:
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3476:(1959 teleplay)
3460:
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3261:Richard Strauss
3243:
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3143:
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3000:
2949:(granddaughter)
2907:
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2783:
2749:Religious views
2727:Curtain Theatre
2648:
2636:
2611:
2562:Sir Thomas More
2508:
2482:Edmund Ironside
2431:
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2339:Ghost character
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2143:Timon of Athens
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1818:and publication
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1777:The Nice Valour
1764:
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1461:Monsieur Thomas
1420:
1359:Cupid's Revenge
1352:The Woman Hater
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449:Mr. Bridgwater
425:, in love with
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249:Modern revivals
226:Double Falshood
218:
162:In March 2010,
131:Double Falshood
111:
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52:Double Falshood
38:Double Falshood
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1960:As You Like It
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1146:External links
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1136:978-1137344212
1119:
1100:
1066:
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1021:
1000:
993:
971:
938:978-1903436776
937:
919:
892:(5): 570–582.
874:
862:katemaltby.com
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2985:(grandfather)
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1468:The Mad Lover
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1062:Gregory Doran
1057:
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1017:Union Theatre
1014:
1010:
1009:Wilmott, Phil
1004:
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3626:(1982 novel)
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3204:(1762 opera)
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3196:(1761 opera)
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3183:
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3109:Sancho Panza
3092:Characters,
3080:
2997:(son-in-law)
2991:(son-in-law)
2929:Susanna Hall
2870:
2859:Institutions
2838:
2683:Coat of arms
2676:Translations
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2664:Bibliography
2631:To the Queen
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2295:Second Folio
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1717:with Shirley
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1623:A Very Woman
1621:
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1344:and Fletcher
1330:
1323:
1310:conjectural)
1308:attributions
1295:John Webster
1255:Nathan Field
1245:
1238:
1231:
1177:
1163:
1127:
1122:
1114:the original
1103:
1091:. Retrieved
1089:. p. 12
1087:The Guardian
1086:
1080:
1069:
1056:
1048:
1041:. Retrieved
1036:The Guardian
1034:
1024:
1012:
1003:
980:
974:
928:
922:
889:
883:
877:
865:. Retrieved
861:
851:
843:
829:
817:. Retrieved
811:
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743:
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651:
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541:
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508:Barton Booth
504:Robert Wilks
501:
496:
494:
482:
470:
426:
422:
417:Mr. Griffin
412:
411:, Father to
408:
398:
397:, Father to
395:Don Bernardo
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3587:Don Quixote
3555:Don Quixote
3547:Don Quixote
3505:Don Quixote
3438:Don Quixote
3430:Don Quixote
3422:Donkey Xote
3390:Don Quixote
3350:Don Quixote
3342:Don Quixote
3334:Don Quixote
3326:Don Quixote
3318:Don Quixote
3302:Don Quixote
3279:Don Quixote
3256:Don Quixote
3217:Don Quixote
3167:(1727 play)
3159:(1694 play)
3096:and animals
3085:(1605/1615)
3082:Don Quixote
3035:WikiProject
2722:The Theatre
2708:Handwriting
2534:The Puritan
2325:Characters
2290:First Folio
2258:Richard III
2038:The Tempest
1816:Performance
1780:(Middleton)
1734:with Rowley
1660:Love's Cure
1510:The Pilgrim
1475:The Chances
1447:Valentinian
1380:The Captain
1366:The Coxcomb
627:Don Quixote
516:Mary Porter
476:Mrs. Porter
403:Mr. Harper
316:Gary Taylor
269:, director
94:Don Quixote
3659:1727 plays
3648:Categories
3465:Television
3248:Orchestral
2959:Mary Arden
2943:(daughter)
2931:(daughter)
2807:Bardolatry
2717:King's Men
2659:Birthplace
2346:Chronology
2265:Henry VIII
2192:Richard II
2184:Edward III
2094:Coriolanus
1830:King's Men
1705:Henry VIII
1689:with Field
1635:and others
1285:Ben Jonson
1043:23 January
1015:, London:
591:References
488:Mrs. Booth
457:R. Norris
441:Mr. Oates
376:Mr. Mills
365:Mr. Corey
267:MokitaGrit
166:published
113:Publisher
109:Authorship
3593:Quixotism
3175:Opera and
3139:Rocinante
3119:Clavileño
2989:John Hall
2979:(brother)
2967:(brother)
2899:(replica)
2839:Star Trek
2827:Memorials
2822:Influence
2812:Festivals
2754:Sexuality
2744:Portraits
2739:New Place
2591:Ur-Hamlet
2527:Mucedorus
2437:Apocrypha
2177:King John
2168:Histories
2115:King Lear
2078:Tragedies
1974:Cymbeline
1804:(Shirley)
1552:Barnavelt
1543:Massinger
1373:Philaster
1280:John Ford
1083:– review"
947:cite book
528:Andalusia
432:Mr. Booth
388:Mr. Wilks
382:Henriquez
263:Southwark
27:1727 play
3527:(1998, "
3358:Dulcinea
3025:Category
2973:(sister)
2961:(mother)
2955:(father)
2467:Cardenio
2356:Settings
2304:See also
2227:Henry VI
2198:Henry IV
1944:Comedies
1877:Cardenio
1633:Fletcher
1425:Fletcher
1342:Beaumont
1317:Beaumont
1183:LibriVox
1081:Cardenio
914:13022405
906:25854277
836:Archived
819:16 March
708:Cardenio
548:pastoral
522:Synopsis
483:Violante
465:Mr. Ray
438:Citizen
371:Roderick
331:Cardenio
320:Cardenio
305:Cardenio
286:Cardenio
149:Cardenio
144:Cardenio
119:Cardenio
76:Cardenio
3615:Quixote
3566:Related
3531:" song)
3286:, 1869)
3263:, 1898)
3240:" song)
3177:musical
2817:Gardens
2693:Editors
2496:Locrine
2489:Fair Em
2321:Henriad
2220:Henry V
2129:Othello
2122:Macbeth
1854:Related
1454:Bonduca
1222:" Canon
985:Methuen
867:9 April
471:Leonora
427:Leonora
409:Camillo
399:Leonora
190:of the
83:Sources
3457:(2019)
3449:(2018)
3441:(2015)
3433:(2010)
3425:(2007)
3417:(2006)
3409:(2002)
3401:(2002)
3393:(2000)
3385:(1973)
3377:(1972)
3369:(1968)
3361:(1963)
3353:(1957)
3337:(1947)
3329:(1933)
3321:(1923)
3313:(1908)
3305:(1903)
3271:Ballet
3188:(1743)
3134:Ricote
3014:† Lost
2925:(wife)
2916:Family
2789:Legacy
2361:Scenes
2101:Hamlet
1796:(Ford)
1769:Others
1134:
991:
935:
912:
904:
792:
771:
754:p. xvi
750:
679:
361:Angelo
354:Actor
3516:Album
3148:Stage
2937:(son)
2779:Grave
2769:Style
2734:Music
2651:works
2616:Poems
2445:Plays
2383:Poems
1935:Plays
1306:(some
1304:Plays
1218:The "
1093:3 May
910:S2CID
423:Julio
413:Julio
359:Duke
351:Role
151:were
55:) or
3294:Film
2774:Will
2649:and
2646:Life
1167:2010
1132:ISBN
1095:2011
1045:2011
989:ISBN
966:link
959:help
933:ISBN
902:PMID
869:2018
821:2010
796:p. 8
790:ISBN
775:p. 6
769:ISBN
748:ISBN
677:ISBN
506:and
341:Cast
284:as "
238:1728
103:1612
69:and
3539:Art
3079:'s
2334:L–Z
2329:A–K
894:doi
729:,"
629:,"
91:'s
3650::
3008:✻
2470:✻†
1085:.
1047:.
1033:.
987:.
951::
949:}}
945:{{
908:.
900:.
890:26
888:.
860:.
810:.
650:.
638:^
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261:,
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3282:(
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2565:✻
2514:†
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2249:3
2242:2
2237:✻
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2204:1
2187:✻
2062:✻
2026:✻
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1860:†
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1620:†
1549:†
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1204:t
1197:v
1138:.
1097:.
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997:.
968:)
961:)
941:.
916:.
896::
871:.
823:.
685:.
228:.
40:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
