Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
AYLI V. 3
000 Scene III. The forest.
AYLI V. 3 Enter Touchstone and Audrey.
Touch. To-morrow is the joyful day, Audrey; to-morrow will we be married.
Aud. I do desire it with all my heart; and I hope it is no dishonest desire to desire to be a woman of the world. 005 Here come two of the banished Duke’s pages.
Enter two Pages.
First Page. Well met, honest gentleman.
Touch. By my troth, well met. Come, sit, sit, and a song.
Sec. Page. We are for you: sit i’ the middle.
First Page. Shall we clap into’t roundly, without 010 hawking or spitting or saying we are hoarse, which are 011 the only prologues to a bad voice?
Sec. Page. I’faith, i’faith; and both in a tune, like two gipsies on a horse.
Song.
It was a lover and his lass,
015 With a hey, and a ho, and a hey nonino,
That o’er the green corn-field did pass
017 In the spring time, the only pretty ring time,
When birds do sing, hey ding a ding, ding:
Sweet lovers love the spring.
020 Between the acres of the rye,
With a hey, and a ho, and a hey nonino,
022 These pretty country folks would lie,
023 In spring time, &c.
024 This carol they began that hour,
025 With a hey, and a ho, and a hey nonino,
026 How that a life was but a flower
027 In spring time, &c.
028 And therefore take the present time,
With a hey, and a ho, and a hey nonino;
030 For love is crowned with the prime
In spring time, &c.
Touch. Truly, young gentlemen, though there was no 033 great matter in the ditty, yet the note was very untuneable.
034 First Page. You are deceived, sir: we kept time, we 035 lost not our time.
Touch. By my troth, yes; I count it but time lost to 037 hear such a foolish song. God buy you; and God mend your voices! Come, Audrey. [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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