Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
As You Like It, III, 3.
As You Like It, III, 3.
Scene iii.] Scene ix. Pope.
...behind.] om. Ff.
2: how] F1 F2. now F3 F4.
4: features!...what features] feature!...what’s feature Farmer conj.
11: reckoning] reeking Hanmer.
17, 18: what they...feign] what they swear as lovers, they may be said to feign as poets Johnson conj.
18: may] it may Collier (Mason conj.).
30: foul] faule F2.
32, 33: I am foul] I am full Tyrwhitt conj. for my foulness Ritson conj.
41: may] might Collier MS.
43: horn-beasts] horne-beasts F1 F2. horn’d beasts S. Walker conj.
48: Horns?......alone?] Theobald. horns, even so poor men alone: Ff. Horns!, never for poor men alone? Singer. Are horns given to poor men alone? Collier (Collier MS.). Horns? ever to poor men alone? Dyce. Horns are not for poor men alone. Spedding conj.
50: more] om. Pope.
62: What-ye-call’t] What ye call Rowe (ed. 2).
63: God ’ild] Theobald. goddild F1. godild F2 F3 F4.
67: bow] bough Capell.
68: her] F1 F2. his F3 F4.
80: Johnson proposes to place this line after line 82. See note (viii).
83: Master] Sir Warburton.
83, 84: not,—O sweet] Not, o sweet Capell.
84–86, 88–90: Printed as prose in Ff, as verse by Johnson (Warburton conj.).
86: behind thee] behi’ thee Steevens (Farmer conj.)
87, 88: but,—Wind] But wind Capell.
88: Wind] Wend Collier (Johnson conj.).
90: with thee] wi’ thee Steevens (Farmer conj.). bind thee Collier (Collier MS.). with thee to-day Johnson conj.
[Exeunt J. T. and A.] Exeunt. Ff (after line 92).
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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