Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Love’s Labour’s Lost, IV, 2.
Love’s Labour’s Lost, IV, 2.
3: Hol.] Ped. Qq Ff.
sanguis, in blood] in sanguis, blood Capell.
4: the] Q1. a Ff Q2.
24: animal] animal, not to think Collier MS.
26, 27: Printed as prose in Qq Ff, first as verse by Hanmer.
27: Which we of taste and feeling are, for those...] See note (xi).
do] Q1 Ff. om. Q2.
28: indiscreet] indistreell Q1.
29: see] set Collier MS.
32: me] Q1. om. Ff Q2.
34: Dictynna] Rowe. Dictisima Q1 F1 F2 F3. Dictissima Q2 F4. Doctissime...Dictynna Collier MS.
35: Dictynna] Dictinna F2 F3 F4. Dictima Qq F1.
36: title] tittle F2.
38: raught] rought Q1. wrought Ff Q2.
44: pollusion] Q2 F3 F4. polusion Q1 F1 F2. pollution Rowe (ed. 2).
47: epitaph] epigram Capell conj. MS.
48: ignorant] ignorault Q1.
49: call I] Edd. call’d Qq Ff. I have call’d Rowe. I will call Singer. I call Collier MS.
a] the Q2.
51: scurrility] squirilitie Q1.
54: preyful] prayfull Qq F1. praysfull F2.
54–59: Printed as twelve lines in Qq Ff.
56, 58: L] ell Qq Ff.
56: jumps] jumpt Pope.
58: one sorel] Edd. o sorell Q1. O sorell Q2 Ff. of sorel Warburton. O sore L Capell.
63: Hol.] Nath. Qq Ff. See note (xii).
66, 67: pia mater] Rowe. primater Qq Ff.
68: in whom] whom Q1.
70: my] our Rowe (ed. i).
74: ingenuous] Q2 F3 F4. ingenous Q1. ingennous F1 F2. ingenious Capell.
76: sapit] Q2 F2 F3 F4. sapis Q1 F1.
78: parson] F2 F3 F4. person Qq F1.
79: pers-on] pers-one Steevens.
79–85: Put in the margin by Pope.
81: likest] Ff Q2. liklest Q1.
83: Piercing] Edd. Of persing Qq Ff. See note (xvii).
lustre] cluster F3 F4.
86: Parson] Qq Ff.
89: Fauste, precor gelida quando pecus omne] F2 F3 F4. Facile precor gellida quando pecas omnia Q1 F1. Facile precor gleida quando peccas omnia Q2.
92, 93: Venetia,.....ti.....ti pretia] Edd. (from Florio’s ‘Second Frutes.’) Vinegia...te...ei non te pregia Theobald. Vemchie, vencha, que non te vnde, que non te perreche Q1 F1. Vemchie, vencha...perroche Q2. Vemchie, vencha...piaech F2 F3 F4, Rowe, Pope.
95: loves thee not] Q1. om. Ff Q2.
99: stanze] F1 Q2. stauze Q1. stanza F2 F3 F4.
101: Ah] O ‘Passionate Pilgrim.’
102: faithful] constant Ib.
103: were] like Ib.
105: would] can Ib.
110: bears] seems Ib.
112: pardon love this] do not love that Ib.
113: That sings] To sing Ib. That sings the S. Walker conj.
115: canzonet] Theobald. cangenet Qq Ff.
115–122: Here...you] Theobald continues to Holofernes. In Qq Ff they are given to Nathaniel.
117: caret] carent Nicholson conj.
119: invention? imitari] Theobald. invention imitarie Qq Ff. invention? imitating Collier MS.
120: tired] tyred Qq Ff. try’d Theobald. ’tired Capell. trained Heath conj.
123, 124: one of the strange queen’s lords] to one of the strange queen’s ladies Theobald.
125–129: I will...Biron] given to Nathaniel in Qq Ff. See note (xii).
128: writing] Rowe. written Qq Ff.
129: in] it Q2.
Sir Nathaniel] Capell. Sir Holofernes Qq Ff. om. Theobald.
129–135: Given to Dull by Rowe.
133: royal] om. Ff Q2.
137: [Exeunt...] Exit. Qq Ff.
145: before] Q1. being Ff Q2.
repast] request Heath conj.
147: or] Qq F1 F2. and F3 F4.
148: ben venuto] Rowe (ed. 2). bien venuto Q1 F2 F3 F4. bien vonuto F1 Q2. bien venu too Edd conj.
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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