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Cardenio entre Cervantès et…
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Cardenio entre Cervantès et Shakespeare : Histoire d'une…

by Roger Chartier

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Un livre d'histoire littéraire qui se lit comme un roman. Le style est enlevé, bien écrit, dans un français qu'on aimerait lire plus souvent. Le thème: cardenio, une de multiples pièces du barde qui a été perdu. Roger chartier se met en quête de comprendre pourquoi ce sujet, cardenio, un des héros du Quichotte de cervantès, comment une pièce disparait, réapparait, redisparait et devient une obsession du XXIé siècle. Il nous accompagne dans le monde littéraire du 17 et 18 siècle en angleterre, en france et en espagne. Il nous montre comment les oeuvres se construisent, écriture à plusieurs mains, l'auteur n'a pas encore son statut quasi divin, les pièces appartiennent aux troupes d'acteurs, le copy right est de 14 ans, on reprend les thèmes, on plagie sans vergogne, finalement pour produire des grandes pièces parfois. J'ai particuliérement aimé les articulations entre littérature castillane et anglaise. C'est passionnant de voir comme le Quichotte dès sa publication fut un succès, comment il fut copié, combien de pièce il inspira à partir de ses intrigues parrallèles dont le récit des aventures de cardenio et luscinda. Le récit est une série de flashback jusqu'au dénouement final. Chartier nous montre comment une scène celle du mariage de luscinda et fernando évolue de cervantès jusqu'à théobald. Nous suivons l'évolution sociologique du mariage à travers les lieux et le siècle.
C'est un ouvrage passionnant et indispensable à qui aime la littérature. Réunir dans un même essai cervantés et shakespeare autour d'une pièce absente mais si présente c'est un tour de force qui mérite de consacrer quelques heures à ce livre. Pour mémoire les deux auteurs sont morts la même année. ( )
  PUautomne | Nov 23, 2011 |
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Amazon.com Product Description (ISBN 0745661858, Paperback)

How should we read a text that does not exist, or present a play the manuscript of which is lost and the identity of whose author cannot be established for certain?

Such is the enigma posed by Cardenio – a play performed in England for the first time in 1612 or 1613 and attributed forty years later to Shakespeare (and Fletcher). Its plot is that of a ‘novella’ inserted into Don Quixote, a work that circulated throughout the major countries of Europe, where it was translated and adapted for the theatre. In England, Cervantes’ novel was known and cited even before it was translated in 1612 and had inspired Cardenio.

But there is more at stake in this enigma. This was a time when, thanks mainly to the invention of the printing press, there was a proliferation of discourses. There was often a reaction when it was feared that this proliferation would become excessive, and many writings were weeded out. Not all were destined to survive, in particular plays for the theatre, which, in many cases, were never published. This genre, situated at the bottom of the literary hierarchy, was well suited to the existence of ephemeral works. However, if an author became famous, the desire for an archive of his works prompted the invention of textual relics, the restoration of remainders ruined by the passing of time or, in order to fill in the gaps, in some cases, even the fabrication of forgeries. Such was the fate of Cardenio in the eighteenth century.

Retracing the history of this play therefore leads one to wonder about the status, in the past, of works today judged to be canonical. In this book the reader will rediscover the malleability of texts, transformed as they were by translations and adaptations, their migrations from one genre to another, and their changing meanings constructed by their various publics. Thanks to Roger Chartier’s forensic skills, fresh light is cast upon the mystery of a play lacking a text but not an author.

(retrieved from Amazon Thu, 12 Mar 2015 18:07:59 -0400)

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