Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Love’s Labour’s Lost, II, 1.
Love’s Labour’s Lost, II, 1.
Act ii.] om. Q1. Actus secunda F1 F2. Actus secundus. Q2 F3 F4.
Enter...] Rowe. Enter the Princesse of France with three attending Ladies and three Lords. Qq Ff.
1: dearest] clearest Collier MS.
2: who] Qq F1. whom F2 F3 F4.
13: Prin.] F2 F3 F4. Queen. Qq F1.
Lord] L. Qq Ff.
beauty, though] thought Q2.
19: your wit in the praise] Qq F1. thus your wit in praise F2 F3 F4.
21: You ...] Prin. You ... F1 Q2.
25: to ’s seemeth] Qq Ff. to us seemeth Rowe (ed. 2). to us seems Pope.
32: Importunes] Importuous Q1.
34: visaged] Ff Q2. visage Q1.
36: [Exit B.] Dyce. Exit. Q1 F1 (after line 34).
37, 38: Printed as prose in Qq Ff. First as verse by Rowe (ed. 2).
39: First Lord. Lord Longaville] Capell. Lor. Longavill. Qq Ff.
you] ye Warburton.
40: Mar.] Rowe. 1 Lady. Qq Ff. Lord. Hanmer.
I know] I knew F2 F3 F4.
40–43: madam: at...solemnized In] Capell. madam at...solemnized. In Qq Ff.
43: In Normandy,] Mar. In Normandy Hanmer.
44: of sovereign parts] Ff Q2. of soveraigne peerelsse Q1. of— sovereign, peerless Malone conj. a sovereign pearl Steevens conj. of his sovereign peerless Jackson conj.
45: Well fitted in arts] Qq F1. Well fitted in the arts F2 F3 F4. In arts well fitted Grant White conj.
47, 48: gloss...gloss] glose ...glose Q1.
51: none spare] spare none Rowe (ed. 2).
52: merry mocking] merry-mocking Rowe.
55: Who...rest?] omitted by Rowe (ed. 1).
58: power to do most] powerful to do Hanmer.
60: he] she F1 Q2.
61: Alençon’s] Alansoes Qq F1. Alanzoes F2 F3 F4. Alanson’s Rowe.
64: these] the Q2.
65: if] Q1. as Ff Q2.
if...a truth] as...a youth Theobald conj.
69: his wit] Qq F1. wit F2 F3 F4.
76: voluble] valuable Rowe (ed. 2).
80: First Lord.] Lord. Q1. Ma. Ff Q2.
84: much] om. F2 F3 F4.
88: unpeeled] Q1. unpeopled Ff Q2. See note (vii).
89: [The Ladies mask. Capell.
90: Scene ii. Pope.
King.] Navar. Qq Ff.
...and Attendants] Rowe. om. Qq Ff.
93: wide] wild Reed (ed. 1803).
99: it; will] Capell. it will, Qq Ff. it’s will, Rowe (ed. 2).
105: And sin] Not sin Hanmer.
105, 106: And...sudden-bold] As one line in Q1.
114: Ros.] Rosa. Ff Q2. Kather. Q1. See note (viii).
115–117: As two verses ending then,...quick. in Capell.
116, 118, 120, 122, 124, 126: Ros.] Rosa, Ff Q3. Kath. Q1.
129: a] one Rowe (ed. 1)
134: the which] which Capell.
138: unsatisfied] but satisfied Q2.
142: repaid] repaie F1 Q2.
143: A] Q1. An Ff Q2.
demands] remembers Rowe.
144: On] Theobald. One Qq Ff.
a] Q1 F1 F2 F3. an Q2 F4.
147: father] fathers Q2.
158: And if] An if Delius conj.
167: I will] Q1. would I Ff Q2.
171: in] Ff Q2. within Q1.
174: fair] Q1. farther Ff Q2. free Collier MS.
176: shall we] Q1. we shall Ff Q2.
178: [Exit.] Qq Ff. [Exeunt King and his train. Capell.
179: mine own] Q2. my none Q1. my own Ff. my Capell.
179, 182, 184, 186, 188, 190: Biron.] Ber. Q1. Boy. Ff Q2.
180: Pray] Now, pray Capell, reading as verse.
183–192: Put in the margin as spurious by Pope.
183: fool] foole Q1. soule F1 Q2 F2. soul F3 F4.
189: No point,] No poynt, (in italics) Qq Ff. No, (rom.) point, (ital.) Capell.
192: Biron.] Ber. Qq F1. Bir. F2 F3 F4.
[Retiring.] Capell. [Exit. Qq Ff.
Enter Dumaine. Qq Ff.
194: Katharine] Singer (Capell conj.). Rosalin Qq Ff.
195: Enter Longavile. F2 F3 F4.
197: sometimes] sometime Q2.
an] and Q1. if Ff Q2.
197–203: A woman......offended.] Put in the margin by Pope.
202: on your] Qq. a your Ff.
205: Nay, my choler is ended] omitted by Pope.
207: Enter Berowne. Qq Ff.
208–226: What’s ... abused] Put in the margin by Pope.
209: Rosaline] Singer (Anon. N. and Q. conj.). Katherine Qq Ff.
212: You] Ff Q2. O you Q1. See note (ix).
213: [Exit Biron.] Q1. [Exit. Ff Q2. [The Ladies unmask. Capell.
218: Mar. Two hot sheeps, marry. Boyet. And...ships?] Rowe (ed. 2). Lady Ka. Two hot sheepes marie. Bo. And...shipps? Q1. La. Ma. Two hot sheeps marie: And wherefore not ships? Ff Q2. See note (viii).
221: [Offering...] Capell.
224: but, gentles, agree] Theobald. but gentles agree Qq Ff.
227, 229: Punctuated as in Theobald, observation (which...eyes. Deceave... Q1. observation (which...eyes) Deceive Ff Q2.
230–252: Prin. With-what?...lie.] Put in the margin by Pope.
233: did] Q1. doc Ff Q2.
their] the Q2.
234: thorough] through Q2.
240: feel only] feed on by Jackson conj.
243: where] Q1. whence Ff Q2.
244: point you] Q1. point out Ff Q2.
245: quote] Q2. coate Q1 F1 F2. coat F3 F4.
247: and] om. Q2.
249: disposed.] disposed— Warburton.
About
Temptations and infatuations abound in this sparklingly linguistic early comedy from Shakespeare, where cerebral pursuits and ascetic intentions prove no match for the nobles of Navarre’s royal court when the Princess of France and her attendants arrive on a political mission and find themselves enmeshed in a mission of far more amorous ambitions. An entertaining battle of sexes, wits and classes ensues as the great master of the English language concocts a roundelay of semantic gamesmanship, mixing high lyricism, bawdy wordplay and a fair degree of scholarly satire together with elastic dexterity to poke fun at masculine romantic ideations and female objectification, the ambiguities of communication, as well as the ignorance of the seemingly cultured societal sets. And then, in a stunning tonal turn mere moments before the play’s conclusion that manages to thwart all our expectations, the young Shakespeare grounds this heretofore exuberant work in a startlingly mature realism that is far removed from his most popular comedies, lending Love’s Labour’s Lost both a worldliness and honesty that marks it as a work of astonishing complexity.
And to perform it all? Three men (Craig Franklin, Tomas Peter, and Brad “Hamlet” Filippone) and three women (Sonia, Jenn Broda, and Kelly S. Taylor), determined to give you a performance of Shakespeare's work that you will never forget. You thought you knew your Shakespeare? Well, think again! - Summary by Tomas Peter
Cast list: Craig Franklin: Narrator; Costard; Dumain; Maria & Marcade. Brad “Hamlet” Filippone: Biron; Holofernes & French Lord. Jenn Broda: The Princess of France; Dull & Ver (the Spring). Kelly S. Taylor: Ferdinand, King of Navarre; Katharine; Jaquenetta & Forester. Sonia: Rosaline; Moth; Longaville & Hiems (the Winter). Tomas Peter: Don Adriano de Armado; Boyet & Sir Nathaniel.
Other versions of Love's Labour's Lost (version 2)
- Love's Labour's Lost — narrated by multiple narrators · English
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