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"Double falsehood."
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Fake Shakespeare
The essay examines the relationship between Shakespeare and Fletcher’s lost play The History of Cardenio and Theobald’s 1727 adaptation Double Falsehood, and various twentieth-first century attempts (by Greenblatt and Mee, Doran and Álamo, and Gary Taylor), to recover the lost play by adapting Double Falsehood. Any such attempt requires the modern adapter to identify which parts of Double Falsehood preserve the Jacobean original (and should therefore be retained) and which are the work of a Restoration or eighteenth-century adapter (and should therefore be removed). That task is essentially empirical. But recreation of the lost play also requires sympathetic creativity: in particular, an effort to imitate Shakespeare (and Fletcher).
Journal Article
Shakespearean Plot Twists, Maybe Even by Shakespeare
(When was the last time a sword didn't do double duty as a mimed phallus?) But the Classic Stage Company's production of \"Double Falsehood\" takes this reductive impulse to a new level.
Newspaper Article
A Lost Shakespeare? It's a Mystery
[...] last year Arden Shakespeare, one of the most reputable publishers of the works, put out an edition of \"Double Falsehood,\" asserting, in the words of its editor, Brean Hammond, that a close examination of the play vindicates \"most of Theobald's claims for its provenance\" and arguing in favor of Shakespeare's involvement. If establishing provenance is not an option, as in this case of Theobald's missing manuscripts, a scholar must examine the text for qualitative clues (images, metaphors) as well as quantitative (punctuation, contractions, grammar), which, Mr. Hammond said, are unlikely to be used consciously and can't be imitated by forgers.\\n
Newspaper Article