Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Much Ado About Nothing, II. 1.
Much Ado About Nothing, II. 1.
Act ii. See note (v).
Scene i. A hall...] Theobald. L.’s House. Pope. See note (vi).
Enter...] Enter L., his brother, his wife, Hero his daughter and Beatrice his niece and a kinsman. Q Ff. (and kinsman F3 F4). See note (i).
15: a’] Collier. a Q. he Ff.
26: the woollen] woollen Rowe (ed. 2).
27: on] Q. upon Ff.
34: bear-ward] Collier. Berrord Q F1 F2. Bearherd F3 F4.
35: hell?] Hanmer. hell. Q Ff. hell,—Theobald.
35–41: Put in the margin as spurious by Warburton.
37: horns] his horns F4.
40: Peter for the heavens;] Pope. Peter: for the heavens, Q Ff. Peter. for the heavens! Staunton.
44, 47: courtesy] cursie Q. curtsie Ff.
45: Father] Q. om. Ff.
47: please] Q F1. pleases F2 F3 F4.
52: an account] Q. account Ff.
53: wayward] cold wayward F3 F4.
54: my] om. F3 F4.
59: important] importunate Rowe (ed. 2).
61: hear] here Q.
62: as] om. Rowe.
65: ancientry] aunchentry Q F1 F2. anchentry F3 F4.
67: sink] sincke Q. sinkes F1 F2. sinks F3 F4. sink apace Collier MS. See note (v).
72: All...masks] L. and his company mask. Capell.
73: Scene ii. Pope.
Enter...masked.] Enter Prince, Pedro, Claudio, and Benedicke, and Balthasar, or dumb John. Q. Enter...John, Maskers with a drum. Ff.
82–85: Printed as two verses by Grant White.
83: Jove] Q. Love F1. love F2 F3 F4.
84, 85: Hero...thatch’d. D. Pedro...love] Hero...thatch’d. Speak...speak, Jove. Anon. conj.
85: D. Pedro] Marg. Heath conj. [Drawing her aside] Capell.
86, 89, 91: These lines are given to Benedick in Q Ff. Theobald gives them to Balthasar.
87: Marg.] Mas. F4. See note (viii.)
90: Marg.] Mask. F4.
91: [Turning off in quest of another. Capell.
96: [Parting different ways. Capell.
101: ill-well] Theobald. ill well Q Ff. ill Will Rowe. ill, well Pope.
106: mum,] mumme, Q Ff. mummer, Anon. conj.
107: [Mixing with the company. Capell.
110: not tell] Q F1. tell F2 F3 F4.
116: Beat.] om. F2.
121: impossible] impassible Warburton.
123: pleases] Q. pleaseth Ff.
131: [Music] Musick within. Theobald. [Musick begins: Dance forming. Capell.
135: [Dance......Claudio] Dance. Exeunt. Q. [Exeunt. Musicke for the dance. Ff. [Exeunt. Manent Don. J., B. and C. Warburton. [Dance: and exeunt D. Ped. and Leo. conversing...Capell.
136: Scene iii. Pope.
146: you] ye Theobald.
152: these] this F3 F4.
156: their] your Hanmer.
158: for] om. Pope.
161: therefore] then Pope.
167: county] Q. Count Ff.
of] Q F4. off F1 F2 F3.
168: an] a F4.
172: drovier] Q Ff. drover Rowe (ed. 2)
176: Ho! now] Ho now Q F1. Ho no! F2 F3. No no! F4.
179: fowl] foule Q. fowle F1. soule F2. soul F3 F4.
181: Ha?] F2 F3 F4. hah, Q. Hah? F1.
182: Yea] Q F1. you F2. yet F3 F4.
182, 3: so...wrong;] so; (but...wrong) Capell.
183: base,] bare Anon. conj.
184: though bitter] the bitter Steevens (Johnson conj.). tough, bitter Jackson conj. through-bitter Anon. conj.
world] word F3 F4.
187: Scene iv. Pope.
Re-enter Don Pedro.] Enter the Prince. Ff. Enter the Prince, Hero, Leonato, John and Borachio, and Conrade. Q.
191: I told] Q. told Ff.
192: good] Q. om. Ff.
this] his S. Walker conj.
194: up] Q. om. Ff.
198, 205: birds’] birds Q Ff. bird’s Rowe (ed. 2).
214: but with] with but Capell conj.
217: that] Q. and that Ff.
218: impossible] impassable Theobald (Warburton). See note (ix). impetuous Hanmer. importable Johnson conj. imposeable Becket conj. unportable Collier MS. impitiable Jackson.
222: her terminations] Q. terminations Ff. her minations S. Walker conj.
223: to the north] the north Warburton conj.
225: left] lent Collier MS.
228: the infernal] in the infernal F3 F4.
233: follows] follow Pope.
235: Scene v. Pope.
240: off] of Collier. See note (x).
242: You have] Have you Collier MS.
245: my Lady Tongue.] Q. this Lady Tongue F1. this lady’s tongue F2 F3 F4.
249: his] Q. a Ff.
263: civil count] civil, count Theobald.
264: that jealous] Q. a jealous Ff. as jealous a Collier MS.
266: I’ll] Q F1. I F2 F3 F4.
268, 269: and his...obtained:] Pope. and his...obtained, Q Ff. and, his...obtained, Collier.
284: her] Q. my Ff.
287: to] through Jackson conj.
world] wood Johnson conj.
288: heigh-ho for a husband!] See note (xi).
299: of] Ff. a Q. o’ Edd. conj.
302: was I] Q F1 F2. I was F3 F4.
308: Scene vi. Pope.
pleasant-spirited] Theobald. pleasant spirited Q Ff.
311: ever] even Anon. conj.
312: unhappiness] an happiness Theobald.
320: County] Countie Q. Counte F1. Count F2 F3 F4.
326: my] Q. om. Ff. our Collier MS.
331: mountain] mooting Johnson conj.
mountain of affection] mounting affection of Becket conj.
331, 332: the...the] th’...th’ Q Ff.
333: but] om. Pope.
350: in] om. F3 F4.
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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