historicizes Cervantes's use of the trope of the discovery of an ancient text as a framework for his narrative, and she links this to the actual discovery of a set of parchments in Granada staging the drama of the Moriscos living there. In a piece with a highly suggestive title, "Cervantes's Bones," Brean Hammond explores the traces of Cervantes's work in several of Shakespeare's plays, inferring what the allegedly lost play Cardenio might have looked like. Also reading Shakespeare through the

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... orks of Cervantes, the two articles that ensue, by Trudi L. Darby and Eric Griffin, respectively, conclude that the dramatist was much more versed on the literary achievements of Cervantes than has been conceded until now. They examine clear and revealing overlaps between their work so as to prove that Shakespeare and some of his most illustrious fellow writers in England freely used not only the Quixote but also some other Cervantean narratives. Barry Ife takes this comparison to another level when he argues that Shakespeare was as convinced of the importance of the written word as Cervantes was sure of the relevance of theatricality for the development of the new narrative he was giving birth to. A nice closing piece on Orson Welles's problematic, though unbalanced, relationship to Shakespeare and Cervantes when filming his famous adaptations brings the volume to an end and leaves the reader with the impression that these two lucid minds operating on both sides of the Channel could have actually formed an unbeatable partnership if only Greenblatt's apocryphal letter had reached its destination. Francisco J. Borge, Universidad de Oviedo