Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
AYLI V. 1
ACT V.
Scene I. The forest.
AYLI V. 1 Enter Touchstone and Audrey.
Touch. We shall find a time, Audrey; patience, gentle Audrey.
Aud. Faith, the priest was good enough, for all the old gentleman’s saying.
005 Touch. A most wicked Sir Oliver, Audrey, a most vile Martext. But, Audrey, there is a youth here in the forest lays claim to you.
Aud. Ay, I know who ’tis: he hath no interest in me in the world: here comes the man you mean.
010 Touch. It is meat and drink to me to see a clown: by my troth, we that have good wits have much to answer for; we shall be flouting; we cannot hold.
Enter William.
Will. Good even, Audrey.
Aud. God ye good even, William.
015 Will. And good even to you, sir.
Touch. Good even, gentle friend. Cover thy head, cover thy head; nay, prithee, be covered. How old are you, friend?
Will. Five and twenty, sir.
Touch. A ripe age. Is thy name William?
020 Will. William, sir.
Touch. A fair name. Wast born i’ the forest here?
Will. Ay, sir, I thank God.
Touch. ‘Thank God;’ a good answer. Art rich?
Will. Faith, sir, so so.
025 Touch. ‘So so’ is good, very good, very excellent good; and yet it is not; it is but so so. Art thou wise?
Will. Ay, sir, I have a pretty wit.
Touch. Why, thou sayest well. I do now remember a 029 saying, ‘The fool doth think he is wise, but the wise man 030 knows himself to be a fool.’ The heathen philosopher, when he had a desire to eat a grape, would open his lips when he put it into his mouth; meaning thereby that grapes were made to eat and lips to open. You do love this maid?
034 Will. I do, sir.
035 Touch. Give me your hand. Art thou learned?
Will. No, sir.
Touch. Then learn this of me: to have, is to have; for it is a figure in rhetoric that drink, being poured out of a cup into a glass, by filling the one doth empty the other; 040 for all your writers do consent that ipse is he: now, you are not ipse, for I am he.
Will. Which he, sir?
Touch. He, sir, that must marry this woman. Therefore, you clown, abandon,—which is in the vulgar leave,— 045 the society,—which in the boorish is company,—of this female,—which in the common is woman; which together is, abandon the society of this female, or, clown, thou 048 perishest; or, to thy better understanding, diest; or, to wit, I kill thee, make thee away, translate thy life into death, 050 thy liberty into bondage: I will deal in poison with thee, or in bastinado, or in steel; I will bandy with thee in faction; 052 I will o’er-run thee with policy; I will kill thee a hundred and fifty ways: therefore tremble, and depart.
Aud. Do, good William.
055 Will. God rest you merry, sir. [Exit.
Enter Corin.
056 Cor. Our master and mistress seeks you; come, away, away!
Touch. Trip, Audrey! trip, Audrey! I attend, I attend. [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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