The Shakespeare mystery

Everything (almost) you wanted to know about Cardenio but were afraid to ask
By JEFFREY GANTZ  |  May 7, 2008

INSIDEsmall-cardenio-poster
What Shakespeare wrote and what he didn’t — even without bringing the Earl of Oxford into it — is one of literature’s most enduring and enjoyable mysteries, and this week it’s front and center as the American Repertory Theatre opens Cardenio, a work by playwright Charles Mee and Harvard Shakespeare scholar Stephen Greenblatt that’s inspired by “Shakespeare’s Cardenio.” That’s quite a feat, of course, since we don’t possess Shakespeare’s Cardenio. We have plays in the First Folio that others are thought to have had a hand in: Titus Andronicus, the Henry VI trio, Macbeth, Timon of Athens, Henry VIII. We have plays not in the First Folio that Shakespeare is thought to have had a hand in — notably Pericles and Two Noble Kinsmen. We have plays — lots of them — that were later attributed to Shakespeare but no one believes he wrote, like The Birth of Merlin and Sir John Oldcastle. And we have plays attributed to Shakespeare that haven’t survived. No one knows whether Love’s Labour’s Won is a lost sequel to Love’s Labour’s Lost or an alternate name for another play (say, Much Ado About Nothing). And then there’s Cardenio, about which we know only that the subject matter would have come from a story in part one of Cervantes’s Don Quixote and that the King’s Men — Shakespeare’s company — presented the play at court in 1613. Here’s everything you didn’t know you wanted to know about Cardenio. . .

What does Cardenio do in Don Quixote?
He tries to wed the beautiful Luscinda, but before he can get his father to ask her father for her hand, his father sends him off to be the companion of Don Fernando, the second son of Duke Ricardo. When Cardenio tells Don Fernando of his love for Luscinda, Don Fernando undertakes to ask her father’s consent on Cardenio’s behalf, but in fact he obtains it on his own behalf. When Cardenio learns what’s happened, he goes mad and runs away, eventually stumbling on Don Quixote and Sancho Panza and telling his story. They then come upon a peasant youth who turns out to be a beautiful village girl, Dorotea, whom Don Fernando has seduced. Everyone proceeds to an inn, where Don Quixote does battle with some feisty red-wine skins, and in due course Don Fernando and Luscinda turn up, not quite married — she fainted at the ceremony, he fled, she took refuge in a monastery, he abducted her from it. Cardenio and Luscinda are reunited and Don Fernando is prevailed upon to abandon his claim to Luscinda and honor the promise he made to marry Dorotea.

There’s also a subplot: while they’re all at the inn, the landlord brings out some books from his trunk, and they hear “La novela del curioso impertinente,” in which rich but not overbright Florentine nobleman Anselmo wonders whether his lovely wife, Camila, is as virtuous as she seems and determines to test her by asking his best (and smarter) friend, Lotario, to pretend to woo her. Lotario raises many objections before giving in; eventually, of course, the pretended wooing becomes real, and it all ends as badly as you’d imagine.

1  |  2  |  3  |  4  |   next >
  Topics: Theater , Politics, Political Parties, Chuck Hamilton,  More more >
| More


Most Popular
ARTICLES BY JEFFREY GANTZ
Share this entry with Delicious
  •   MAMA KNOWS BEST: THE HUNTINGTON'S FEEL-GOOD A RAISIN IN THE SUN  |  March 19, 2013
    Fifty-four years after its groundbreaking Broadway premiere, Lorraine Hansberry's A Raisin in the Sun remains as dense, and as concentrated, as its title fruit.
  •   LIGHT WAVES: BOSTON BALLET'S ''ALL KYLIÁN''  |  March 13, 2013
    A dead tree hanging upside down overhead, with a spotlight slowly circling it. A piano on stilts on one side of the stage, an ice sculpture's worth of bubble wrap on the other.
  •   HANDEL AND HAYDN'S PURCELL  |  February 04, 2013
    Set, rather confusingly, in Mexico and Peru, the 1695 semi-opera The Indian Queen is as contorted in its plot as any real opera.
  •   REVIEW: MAHLER ON THE COUCH  |  November 27, 2012
    Mahler on the Couch , from the father-and-son directing team of Percy and Felix Adlon, offers some creative speculation, with flashbacks detailing the crisis points of the marriage and snatches from the anguished first movement of Mahler's unfinished Tenth Symphony.
  •   THE NUTCRACKER: BUILDING A BETTER MOUSETRAP?  |  November 19, 2012
    "Without The Nutcracker , there'd be no ballet in America as we know it."

 See all articles by: JEFFREY GANTZ