Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
As You Like It, III, 5.
As You Like It, III, 5.
Scene v.] Scene xi. Pope.
1: Phebe;] Rowe. Phebe F1 F2. Phebe, F3 F4.
7: dies and lives] Ff. deals and lives Theobald (Warburton). lives and thrives Hanmer. dies his lips Johnson conj. daily lives Heath conj. eyes, and lives Capell. dyes, and lives Steevens. lives and dies Tollet conj. dines and lives Collier. kills and lives Collier MS.
drops] props F2.
...behind] om. Ff.
11: pretty, sure] Theobald. pretty sure Ff.
17: swoon] swound Ff.
22: but] om. F1.
23: capable] Ff. palpable Singer.
26: Nor] Now De Quincey MS.
27: O dear] O my dear Hanmer.
29: meet] F1 met F2 F3 F4.
35: [Advancing. Capell.
36: and all at once] and rail at once Theobald (Warburton). and domineer Hanmer. à l’outrecuidance Forbes conj.
37: have no] have Theobald (L. H. conj.). have some Hanmer. had more Mason conj. have mo Malone.
37, 38: no...As] more... Yet De Quincey MS.
44: my] F1. mine F2 F3 F4.
46: black silk] black-silk Capell.
48: entame] entraine Warburton conj.
53: makes] make Pope.
54: flatters] flatter Pope.
62: being foul] being found Warburton.
66–69: Printed in Ff as four lines, ending she’ll...fast...sauce...me? as prose by Pope.
66: your] her Hanmer.
79: Come, to] F1 F2. Come to F3 F4.
[Exeunt...] Exit. Ff.
80: Dead] F1. Deed F2 F3 F4. ’Deed, Hanmer.
99: I in] F1. in F2. om. F3 F4.
And...grace] And such a poverty of grace attends it Rowe.
102: loose] F1 F2 F3. lose F4.
104: erewhile] F4. yerewhile F1 F2 F3.
107: carlot] Carlot Ff (in italics).
117: very] om. Capell.
127: I have] F2 F3 F4. Have F1. Have much Staunton conj.
137: and] om. Capell.
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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