Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
The Merchant of Venice, III, 1.
The Merchant of Venice, III, 1.
6: gossip Report] Q2 Q3 Q4. gossips report Q1 Ff.
8: as lying a] as a lying Q1.
12: honest Antonio] honest Antho. F2 F3 F4.
19: my] thy Theobald (Warburton).
Enter Shylock.] Q1. In Q2 Ff Q3 Q4 after line 20.
21: knew] know Q1.
26: fledged] fledg’d Q1 Ff. flidge Q2 Q3 Q4. fledge Capell.
31: years] times Rowe (ed. 2).
32: blood] Q1 Ff. my blood Q2 Q3 Q4.
35: rhenish] Rowe. rennish Qq F1 F2. rhennish F3 F4.
36: any loss at sea] at losse a sea Q1.
37, 38: a prodigal] for a prodigal Warburton.
38: dare] dares Rowe (ed. 2).
39: was used] us’d Rowe (ed. 2). was wont Collier MS.
47: half] of half Warburton.
49: his reason] Qq. the reason Ff.
53: means] medicines Warburton conj.
54: winter and summer] summer and winter Hanmer.
59: humility? Revenge] Rowe. humility, revenge? Qq Ff.
60: by Christian] by a Christian F3 F4.
example? Why, revenge.] F4. example, why revenge? Qq F1. example? why revenge F2 F3.
62: Enter a Servant.] Enter a man from Anthonio. Qq Ff.
67: [Exeunt...] Exeunt Gentlemen. Qq Ff.
68: Genoa] Genowa Qq F1 F2 F3. Geneva F4.
77: would] O would Q1.
78: them? Why, so:] them, why so: Q1. them, why so? Q2 Ff Q3 Q4.
79: what’s] whats Qq. how much is Ff.
thou] Qq F1. then F2 F3 F4. there! Lloyd conj.
82: lights on] Q1. lights a Q2 Ff Q3 Q4. lights o’ Rowe (ed. 2).
82, 83: but of] Q1. but a Q2 Ff Q3 Q4. but o’ Rowe (ed. 2).
85: heard in] heard, is in Q3 Q4.
Genoa] Genoway Q1. Genowa Q2 F2 Q3 Q4 F3. Genoua F4.
86: What, what, what?] What, what, Rowe.
88: Is’t, is’t] Q1. Is it, is it Q2 Ff Q3 Q4.
91: thee] the Q1.
92: where] Rowe. heere Qq. here Ff.
93: in] Q1. om. Q2 Ff Q3 Q4.
99: to] unto Q1.
that swear] that swear that Q1.
101: of it] on’t Q1.
108: Tubal] om. Pope.
111: I will. Go, go] Pope. I will go: go Q1. I will: goe Q3 F1. I will: go F2 Q3 Q4 F3 F4.
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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