Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
MAAN III. 2
000 Scene II. A room in Leonato’s house.
MAAN III. 2 Enter Don Pedro, Claudio, Benedick, and Leonato.
D. Pedro. I do but stay till your marriage be consummate, 002 and then go I toward Arragon.
Claud. I’ll bring you thither, my lord, if you’ll vouchsafe me.
005 D. Pedro. Nay, that would be as great a soil in the new gloss of your marriage, as to show a child his new coat and forbid him to wear it. I will only be bold with Benedick for his company; for, from the crown of his head to the sole of his foot, he is all mirth: he hath twice or thrice cut 010 Cupid’s bow-string, and the little hangman dare not shoot at him; he hath a heart as sound as a bell, and his tongue is the clapper, for what his heart thinks his tongue speaks.
Bene. Gallants, I am not as I have been.
Leon. So say I: methinks you are sadder.
015 Claud. I hope he be in love.
D. Pedro. Hang him, truant! there’s no true drop of blood in him, to be truly touched with love: if he be sad, he wants money.
Bene. I have the toothache.
020 D. Pedro. Draw it.
021 Bene. Hang it!
Claud. You must hang it first, and draw it afterwards.
D. Pedro. What! sigh for the toothache?
024 Leon. Where is but a humour or a worm.
025 Bene. Well, every one can master a grief but he that has it.
Claud. Yet say I, he is in love.
D. Pedro. There is no appearance of fancy in him, unless it be a fancy that he hath to strange disguises; as, to 030 be a Dutchman to-day, a Frenchman to-morrow; or in the shape of two countries at once, as, a German from the waist downward, all slops, and a Spaniard from the hip upward, 033 no doublet. Unless he have a fancy to this foolery, as it appears he hath, he is no fool for fancy, as you would have 035 it appear he is.
Claud. If he be not in love with some woman, there is 037 no believing old signs: a’ brushes his hat o’ mornings; what should that bode?
D. Pedro. Hath any man seen him at the barber’s?
040 Claud. No, but the barber’s man hath been seen with him; and the old ornament of his cheek hath already stuffed tennis-balls.
Leon. Indeed, he looks younger than he did, by the loss of a beard.
045 D. Pedro. Nay, a’ rubs himself with civet: can you smell him out by that?
Claud. That’s as much as to say, the sweet youth’s in love.
048 D. Pedro. The greatest note of it is his melancholy.
Claud. And when was he wont to wash his face?
050 D. Pedro. Yea, or to paint himself? for the which, I hear what they say of him.
Claud. Nay, but his jesting spirit; which is now crept 053 into a lute-string, and now governed by stops.
054 D. Pedro. Indeed, that tells a heavy tale for him: conclude, 055 conclude he is in love.
Claud. Nay, but I know who loves him.
D. Pedro. That would I know too: I warrant, one that knows him not.
Claud. Yes, and his ill conditions; and, in despite of 060 all, dies for him.
061 D. Pedro. She shall be buried with her face upwards.
Bene. Yet is this no charm for the toothache. Old signior, walk aside with me: I have studied eight or nine wise words to speak to you, which these hobby-horses must not 065 hear. [Exeunt Benedick and Leonato.
D. Pedro. For my life, to break with him about Beatrice.
Claud. ’Tis even so. Hero and Margaret have by this played their parts with Beatrice; and then the two bears will not bite one another when they meet.
Enter Don John.
070 D. John. My lord and brother, God save you!
D. Pedro. Good den, brother.
D. John. If your leisure served, I would speak with you.
D. Pedro. In private?
D. John. If it please you: yet Count Claudio may 075 hear; for what I would speak of concerns him.
076 D. Pedro. What’s the matter?
D. John. [To Claudio] Means your lordship to be married to-morrow?
D. Pedro. You know he does.
080 D. John. I know not that, when he knows what I know.
Claud. If there be any impediment, I pray you discover it.
D. John. You may think I love you not: let that appear hereafter, and aim better at me by that I now will 085 manifest. For my brother, I think he holds you well, and in dearness of heart hath holp to effect your ensuing marriage,—surely suit ill spent and labour ill bestowed.
D. Pedro. Why, what’s the matter?
D. John. I came hither to tell you; and, circumstances 090 shortened, for she has been too long a talking of, the lady is disloyal.
Claud. Who, Hero?
D. John. Even she; Leonato’s Hero, your Hero, every man’s Hero.
095 Claud. Disloyal?
D. John. The word is too good to paint out her wickedness; I could say she were worse: think you of a worse title, and I will fit her to it. Wonder not till further warrant: 099 go but with me to-night, you shall see her chamber-window 100 entered, even the night before her wedding-day: if 101 you love her then, to-morrow wed her; but it would better fit your honour to change your mind.
Claud. May this be so?
D. Pedro. I will not think it.
105 D. John. If you dare not trust that you see, confess not that you know: if you will follow me, I will show you enough; and when you have seen more, and heard more, proceed accordingly.
Claud. If I see any thing to-night why I should not 110 marry her to-morrow, in the congregation, where I should wed, there will I shame her.
D. Pedro. And, as I wooed for thee to obtain her, I will join with thee to disgrace her.
D. John. I will disparage her no farther till you are my 115 witnesses: bear it coldly but till midnight, and let the issue show itself.
D. Pedro. O day untowardly turned!
Claud. O mischief strangely thwarting!
119 D. John. O plague right well prevented! so will you 120 say when you have seen the sequel. [Exeunt.
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
Comments
Be the first to comment
There aren't any comments on this content yet. Start the conversation!













