Shakespeare полностью

It seems that at some point Belott had then asked Daniel Nicholas to get some specific answer from Shakespeare about “how muche and what” Mountjoy was promising him on marriage to Mary. Shakespeare then replied, according to Nicholas, “that he promised yf the plaintiff would marrye with Marye … he the defendant [Mountjoy] would by his promise as he Remembered geve the plaintiff with her in marriadge about the some of ffyftye poundes in money and Certayn houshould stuffe.” But in subsequent questioning Shakespeare was extremely vague. He recalled that a dowry of some kind had been promised but, in contrast to Nicholas, he could not remember the sum “nor when to be payed.” Nor could he remember any occasion when Mountjoy “promised the plaintiff twoe hundered poundes with his daughter Marye at the tyme of his decease.” Nor could Shakespeare describe “what implementes and necessaries of houshold stuff”¹ Mountjoy gave with his daughter. In fact Belott and his new wife had received only the sum of £10, and some old furniture. It seems that Mrs. Mountjoy had urged her husband to be more generous, but she had died in 1606. From Belott’s point of view, it was all very unsatisfactory. And Shakespeare had not been of any help. He could not remember any details of any conversations. It might even be concluded that he was being deliberately vague or forgetful, for the sake of his old friendship with Mountjoy.

A second hearing took place on 19 June, when Shakespeare’s memory would have been further put to the test, but Shakespeare did not appear on that occasion. Like many such cases it grumbled on without any definite conclusion. It was referred to arbitration, and Belott was awarded a little over £6, but no payment by Mountjoy is recorded. The details of this ancient case are no longer of any consequence, except in so far as they help to illuminate Shakespeare’s life in the ordinary world. He seems to have been willing to act as a “go-between” in delicate marital negotiations, no doubt because he had a reputation for finesse in such matters. He was clearly not a forbidding or unapproachable man; quite the contrary. But when called to account for his actions he becomes non-committal or impartial, maintaining a studied neutrality. He withdraws; he becomes almost invisible.

There is a curious mention of a play performed at Whitehall on 8 June 1612, in front of the Ambassador of the Duke of Savoy. It was entitled Cardenna. It was then performed again at court in the following year, under the title of Cardenno. It is curious because, at a later date, a play was registered for publication under the title of “The History of Cardenio by Mr. Fletcher amp; Shakespeare.” It is well known that in this period Shakespeare and Fletcher were indeed collaborating upon dramas for the King’s Men. The fruits of their joint endeavours were to include All Is True and The Two Noble Kinsmen. It may be that Shakespeare had entered semi-retirement and that Fletcher had in fact taken over from Shakespeare as the company’s principal dramatist. Cardenio would then have as much claim to authenticity as the two other plays which have now formally entered the Shakespearian canon. But Cardenio has not survived. It is a lost play. It may have been derived from the first part of Cervantes’s Don Quixote, in which the character of Cardenio emerges, and in 1758 Lewis Theobald, a distinguished editor of Shakespeare’s works, published a play on the story of Cardenio which he claimed to be “revised and adapted” from a manuscript in his possession “written originally by W. Shakespeare.” No trace of the manuscript has been found.

If Shakespeare did indeed play a part in writing Cardenio in 1612, it is the only drama of that year with which he can be associated. All subsequent plays would also be collaborative works. So there is clear evidence of a diminution of activity, the reasons for which are unclear. It may have been encroaching ill-health; it may have been the pleasures of Stratford and of retirement; it may simply have been the loss or lack of inspiration. He may have done as much as he had ever wanted to do. It is not an unusual scene in the last years or months of a writer’s life. He did not necessarily “know” that he would be dead within three years; when his imagination dimmed, death may have intervened naturally.