Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
As You Like It, II, 4.
As You Like It, II, 4.
Scene iv...Enter...] Enter Rosaline...and Clowne, alias Touchstone. Ff.
1: weary] Theobald (Warburton). merry Ff.
8: cannot] F1. can F2 F3 F4.
13: Arden] a den Upton conj.
16, 17: S. Walker would read as verse Ay, Be so...here; A young...talk.
16: Enter C. and S.] Ff (after line 15).
24: ever] F1. ere F2 F3 F4.
30: ne’er] Rowe. never Ff.
34: sat] F1. sate F2 F3 F4. spake Collier MS.
35: Wearing] F1. Wearying F2 F3 F4. Wear’ing Grant White.
39: [Exit.] F1. Exeunt. F2 F3 F4.
41: of thy wound] Rowe. of they would F1. of their wound F2 F3 F4.
45: a-night] a night F1. a nights F2 F3 F4. o’ nights Capell. o’ night Malone.
46: batlet] F2 F3 F4. batler F1.
48: cods] peas Johnson conj.
56: Jove, Jove] Love, Love Collier (Collier MS.).
57: much upon] too much on Collier (from Collier MS).
58: After this line Collier (from Collier MS.) inserts And begins to fail with me.
59: yond] you’d Ff.
63: are they very] they are Rowe (ed. 1) they are very Rowe (ed. 2). they’re very Hanmer.
64: you,] your F1.
73: shepherd] a shepherd Rowe.
76: recks] Hanmer. wreakes F1 F2. wreaks F3 F4.
78: cote] Hanmer. coate F1 F2. coat F3 F4.
89, 90: Arranged as in Cappell. As three lines ending wages...could...it Ff. As three lines ending wages...waste...it Rowe (ed. 2).
89: wages] wage Lloyd conj.
94: feeder] factor W. Walker conj.
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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