This collection of essays centres on Double Falsehood, 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 Double Falsehood 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 Double Falsehood as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama.

This collection of essays centres on Double Falsehood, 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 Double Falsehood 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 Double Falsehood as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama.

Jane Austen distinguished herself with genius in literature, but she was immersed in all of the arts. Austen loved dancing, played the piano proficiently, meticulously transcribed piano scores, attended concerts and art exhibits, read broadly, wrote poems, sat for portraits by her sister Cassandra, and performed in theatricals. For her, art functioned as a social bond, solidifying her engagement with community and offering order. And yet Austen’s hold on readers’ imaginations owes a debt to the omnipresent threat of disorder that often stems—ironically—from her characters’ socially disruptive artistic sensibilities and skill. Drawing from a wealth of recent historicist and materialist Austen scholarship, this timely work explores Austen’s ironic use of art and artifact to probe selfhood, alienation, isolation, and community in ways that defy simple labels and acknowledge the complexity of Austen’s thought. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.