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By Roger Chartier

How should still we learn a textual content that doesn't exist, or current a play the manuscript of that is misplaced and the identification of whose writer can't be demonstrated for convinced? Such is the enigma posed through Cardenio - a play played in England for the 1st time in 1612 or 1613 and attributed 40 years later to Shakespeare (and Fletcher). Its plot is that of a '€˜novella'€™ inserted into Don Quixote, a piece that circulated through the significant nations of Europe, the place it was once translated and tailored for the theatre. In England, Cervantes'€™ novel was once recognized and pointed out even ahead of it was once translated in 1612 and had encouraged Cardenio. yet there's extra at stake during this enigma. This used to be a time while, thank you more often than not to the discovery of the printing press, there has been a proliferation of discourses. there has been usually a response whilst it was once feared that this proliferation might develop into over the top, and lots of writings have been weeded out. now not all have been destined to outlive, particularly performs for the theatre, which, in lots of instances, have been by no means released. This style, positioned on the backside of the literary hierarchy, was once like minded to the lifestyles of ephemeral works. even though, if an writer grew to become recognized, the will for an archive of his works caused the discovery of textual relics, the recovery of remainders ruined through the passing of time or, so that it will fill within the gaps, from time to time, even the fabrication of forgeries. Such used to be the destiny of Cardenio within the eighteenth century. Retracing the historical past of this play as a result leads one to ask yourself in regards to the prestige, long ago, of works at the present time judged to be canonical. during this publication the reader will rediscover the malleability of texts, reworked as they have been via translations and diversifications, their migrations from one style to a different, and their altering meanings built by means of their a number of publics. because of Roger Chartier's forensic talents, clean mild is forged upon the secret of a play missing a textual content yet now not an writer.

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7–9).  13–15)4 Here it is no longer the poetry that is crying in song, but the symbolic cadaver itself, the ‘âme éveillée’ who, in death, joins in with a poetic song which grants a possible access to an afterlife.  116).  179–180. The Berlioz setting of this poem is under the title ‘Au Cimetière’. The piano version dates from 1834–1841; the orchestral version from 1856. Henri Duparc also set this poem in 1883, and dedicated it to Gabriel Fauré. Liebestod 21 reluctant to express certainty about how this mysterious soul can cry and sing – it is couched in the hypothetical of the conditional clause ‘On dirait que…’ which mirrors the uncertainty signalled by the verb ‘paraître’ in the opening ‘Portail’ cited above.

Later in La Comédie de la mort, Gautier once again links crying and singing through his poetry. He writes in ‘Lamento’ of a dove singing on a yew tree above a ‘blanche tombe’ in which yet another mysterious lost soul resides.  7–9).  13–15)4 Here it is no longer the poetry that is crying in song, but the symbolic cadaver itself, the ‘âme éveillée’ who, in death, joins in with a poetic song which grants a possible access to an afterlife.  116).  179–180. The Berlioz setting of this poem is under the title ‘Au Cimetière’.

412.  345. This interpretation has strong parallels with Jean-Jacques Nattiez’s analysis of Wagner’s operatic figures – especially Tristan and 19 Liebestod 29 This more ambiguous interpretation of the status of the lovers opens up the possibility that they could be yet more abstract figures. 23 By this Jameson does not mean that human beings have simply been removed from the scene because they are now dead (especially since, as examined above, it is impossible to know at what point death takes place in this sonnet).

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