Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
TMOV II. 7
000 Scene VII. Belmont. A room in Portia’s house.
TMOV II. 7 Flourish of cornets. Enter Portia, with the Prince of Morocco, and their trains.
Por. Go draw aside the curtains, and discover
The several caskets to this noble prince.
Now make your choice.
Mor. The first, of gold, who this inscription bears,
005 ‘Who chooseth me shall gain what many men desire;’
The second, silver, which this promise carries,
‘Who chooseth me shall get as much as he deserves;’
This third, dull lead, with warning all as blunt,
‘Who chooseth me must give and hazard all he hath.’
010 How shall I know if I do choose the right?
Por. The one of them contains my picture, prince:
012 If you choose that, then I am yours withal.
Mor. Some god direct my judgment! Let me see;
I will survey the inscriptions back again.
015 What says this leaden casket?
‘Who chooseth me must give and hazard all he hath.’
Must give,—for what? for lead? hazard for lead?
018 This casket threatens. Men that hazard all
Do it in hope of fair advantages:
020 A golden mind stoops not to shows of dross;
021 I’ll then nor give nor hazard aught for lead.
What says the silver with her virgin hue?
‘Who chooseth me shall get as much as he deserves.’
024 As much as he deserves! Pause there, Morocco,
025 And weigh thy value with an even hand:
026 If thou be’st rated by thy estimation,
Thou dost deserve enough; and yet enough
May not extend so far as to the lady:
029 And yet to be afeard of my deserving
030 Were but a weak disabling of myself.
As much as I deserve! Why, that’s the lady:
I do in birth deserve her, and in fortunes,
In graces and in qualities of breeding;
034 But more than these, in love I do deserve.
035 What if I stray’d no further, but chose here?
Let’s see once more this saying graved in gold;
‘Who chooseth me shall gain what many men desire.’
Why, that’s the lady; all the world desires her;
From the four corners of the earth they come,
040 To kiss this shrine, this mortal-breathing saint:
041 The Hyrcanian deserts and the vasty wilds
Of wide Arabia are as throughfares now
For princes to come view fair Portia:
The watery kingdom, whose ambitious head
045 Spits in the face of heaven, is no bar
To stop the foreign spirits; but they come,
As o’er a brook, to see fair Portia.
One of these three contains her heavenly picture.
Is’t like that lead contains her? ’Twere damnation
050 To think so base a thought: it were too gross
051 To rib her cerecloth in the obscure grave.
Or shall I think in silver she’s immured,
Being ten times undervalued to tried gold?
O sinful thought! Never so rich a gem
055 Was set in worse than gold. They have in England
A coin that bears the figure of an angel
057 Stamped in gold, but that’s insculp’d upon;
But here an angel in a golden bed
Lies all within. Deliver me the key:
060 Here do I choose, and thrive I as I may!
Por. There, take it, prince; and if my form lie there,
062 Then I am yours. [He unlocks the golden casket.
Mor.
O hell! what have we here?
A carrion Death, within whose empty eye
064 There is a written scroll! I’ll read the writing. [Reads.
065 All that glisters is not gold;
Often have you heard that told:
Many a man his life hath sold
But my outside to behold:
069 Gilded tombs do worms infold.
070 Had you been as wise as bold,
Young in limbs, in judgment old,
072 Your answer had not been inscroll’d:
Fare you well; your suit is cold.
Cold, indeed; and labour lost:
075 Then, farewell, heat, and welcome, frost!
Portia, adieu. I have too grieved a heart
077 To take a tedious leave: thus losers part. [Exit with his train. Flourish of cornets.
Por. A gentle riddance. Draw the curtains, go.
Let all of his complexion choose me so. [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
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