Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
As You Like It, I, 2.
As You Like It, I, 2.
Scene ii.] Scene iv. Pope.
Lawn...] Capell. Open walk Theobald.
3: I were] Rowe (ed. 2). were Ff.
14: I] me Hanmer.
36: ill-favouredly] ill-favoured Rowe (ed. 2).
40: No?] Hanmer. No; Ff.
43: the] F1 F2. this F3 F4.
44: there is Fortune] F1 F2. Fortune is there F3 F4.
48: perceiveth] F1. perceiving F2 F3 F4.
49: and hath] Malone. hath Ff.
51: the wits] his wits Reed. the wise Spedding conj.
wit] om. Rowe.
whither] F2. whether F1 F3 F4.
64: your] you F2.
73: is’t that] F1 F2 F3. is that F4.
74: One that old Frederick] One old Frederick that Collier conj.
Frederick] Ferdinand Capell conj. See note (iii).
75: Cel.] Theobald. Ros. Ff.
him: enough!] Hanmer. him enough; Ff.
79: wise men] F3 F4. wisemen F1 F2. See note (iii).
83: Le Beau] the Beu F1. Le Beu F2 F3 F4.
84: Scene v. Pope.
87: Enter Le Beau] F1. Enter Le Beu. F2 F3 F4 (after line 83).
88: Bon] Boon Ff.
what’s the] F1. what the F2. what F3 F4.
89: good] om. F3 F4.
90: Sport!] Spot? Collier (Collier MS.).
93: decrees] Ff. decree Pope.
106–108: Le Beau. Three...presence. Ros. With...presents.] Ff. Le Beau. Three...presence. Ros. With...necks. Clo. Be it...presents. Warburton. Le Beau. Three...necks. Ros. Be it...presents. Dyce (Farmer conj.).
122: breaking] of breaking F4.
125–127: Ros. But......cousin?] Touch. But...rib-breaking? Ros. Shall...cousin? Anon. conj.
125: see] set Theobald (Warburton). feel Johnson conj. get Heath conj. seek Jackson conj.
129: for the] F1. for F2 F3 F4.
132: ...Frederick...] Rowe.
133: Scene vi. Pope.
142: in] on Anon. conj.
man] Ff. men Hanmer.
145: Cel.] Cel. and Ros. Lettsom conj.
147: princess calls] F4. Princesse cals F1. Princesse calls F2 F3. princesses call Theobald. princess’ call Dyce (S. Walker conj.). See note (iv).
149: them] her Rowe.
153: but in] F1. but F2 F3 F4. but e’en Edd. conj.
157, 158: your eyes...your judgement,] our eyes...our judgement Hanmer (Warburton).
165: thoughts; wherein] thoughts. Herein Mason conj. thoughts. Therein Johnson conj. thoughts; Spedding conj.
guilty,] guilty, is Jackson conj.
174: that] om. Rowe.
181: in it] it in Boswell.
187: You] An you Theobald conj. If you Mason conj. See note (v).
188: me] om. F3 F4.
191: [They wrestle] F3 F4. [Wrastle. F1 F2.
194: [Shout. Charles is thrown.] Rowe. [Shout. Ff.
209: [Exeunt...] Capell. [Exit Duke. Ff.
210: Scene vii. Pope.
223: as you have exceeded all] as you’ve here exceeded Hanmer. as you have exceeded Capell. as you have excell’d all S. Walker conj.
promise] F1. in promise F2 F3 F4.
224: [Giving...] Theobald.
225: out of suits with fortune] out of fortune’s suite Becket conj. out of sorts with fortune Anon. ap. Halliwell conj.
226: could] would Becket conj.
means] meane F2.
230: lifeless] Rowe (ed. 2). liveless Ff.
236: [Exeunt...] Exit. Ff.
239: Re-enter...] Enter Le Beu. Ff (after line 237).
244: misconstrues] misconsters Ff.
246: I] me Rowe.
249: was] were Hanmer.
251: taller] Ff. shorter Rowe (ed. 2). smaller Malone. lower Staunton. lesser Spedding conj.
252: other is] Ff. other’s Pope.
259: her virtues] virtues F2.
265: [Exit...] om. Ff.
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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