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＜p＞This collection of essays centres on ＜em＞Double Falsehood＜/em＞, Lewis Theobald’s 1727 adaptation of the “lost” play of Cardenio, possibly co-authored by John Fletcher and William Shakespeare. In a departure from most scholarship to date, the contributors fold ＜em＞Double Falsehood＜/em＞ back into the milieu for which it was created rather than searching for traces of Shakespeare in the text. Robert D. Hume’s knowledge of theatre history permits a fresh take on the forgery question as well as the Shakespeare authorship controversy. Diana Solomon’s understanding of eighteenth-century rape culture and Jean I. Marsden’s command of contemporary adaptation practices both emphasise the play’s immediate social and theatrical contexts. And, finally, Deborah C. Payne’s familiarity with the eighteenth-century stage allows for a reconsideration of ＜em＞Double Falsehood＜/em＞ as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。

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