Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Much Ado About Nothing, V. 1.
Much Ado About Nothing, V. 1.
Scene i. Before L.’s house] Pope.
6: comforter] Q. comfort F1. comfort els F2. comfort else F3 F4.
7: do] doe Q. doth Ff.
10: speak] speak to me Hanmer.
16: Bid sorrow wag, cry ‘hem!’] Capell. And sorrow, wagge, crie hem Q F1 F2. And hallow, wag, cry hem F3. And hollow, wag, cry hem F4. And sorrow wage; cry, hem Theobald. And sorrow waive, cry hem Hanmer. And, sorrow wag! cry; hem Johnson. And sorrow gagge; cry hem Tyrwhitt conj. And sorrowing, cry hem Heath conj. Cry, sorrow, wag! and hem Steevens (Johnson conj.). In sorrow wag; cry hem Malone. And sorry wag, cry hem Steevens conj. And, sorrow waggery, hem Ritson conj. And sorrow-wagg’d cry hem Becket conj. And—sorrow wag!—cry hem Dyce. Call sorrow joy, cry hem Collier MS. Say, sorrow, wag; cry hem S. Walker conj. And sorrow’s wag, cry hem Grant White. And sorrow away! cry hem Halliwell conj. At sorrow wink, cry hem Anon. conj.
18: candle-wasters] caudle-waters Jackson conj.
yet] you Collier MS.
21: speak] Q F1 F2. give F3 F4.
38: push] Q Ff. pish Rowe (ed. 2).
45: Scene ii. Pope.
52: wrongs him] wrongeth him Hanmer. wrongs him, sir? Capell.
53: Marry, thou] marry, Thou, thou Steevens. who? Marry thou S. Walker conj.
63: mine] Q. my Ff.
67: mine] my Pope.
78: daff] doffe Warburton.
83: come, sir boy, come, follow me] Q Ff. come boy, follow me Pope. come sir boy, follow me Capell.
91: braggarts, Jacks] Jacks, braggarts Hanmer.
94: monging] Q F1. mongring F2 F3 F4.
96: and] om. Spedding conj.
outward] an outward Rowe.
97: off] Theobald, of Q Ff.
102: wake] rack Hanmer. wrack Warburton. waste Talbot conj.
patience] passions Anon. conj.
105: what] om. F2 F3 F4.
106–109: Printed as three lines ending No!...shall,...it. by Hanmer.
107: Enter Benedick. Ff.
108: No?] Capell. No Q F1. No! F2 F3 F4.
Come] om. Steevens.
109: Enter Ben. Q.
[Exeunt...] Exeunt ambo. Q Ff (after the preceding line).
110: we] he F3 F4.
114: almost] om. Rowe (ed. 2).
115: like] likt Q F1.
120: a] om. F3 F4.
143: [Aside to Claudio] Edd. See note (xxiii).
149: a feast, a feast?] Q F1. a feast? F2 F3 F4.
150: I’ faith] Ay, faith, Capell conj.
a calf’s-head] Malone. a calves head Q F1 F2. calves heads F3 F4.
151: a capon] a cap-on Capell. capers Collier MS.
156: True] Right Rowe (ed. 2).
said] Q. saies F1 F2 F3 says F4.
157: Right] Just Rowe (ed. 2).
158: says she] said she Pope.
159: said she] says she Steevens.
160, 161: a wise gentleman] a wise gentle man Johnson conj.
164: there’s] theirs Q.
169: an] Hanmer. and Q Ff.
172: God] who Collier MS.
174: savage] Q F1 F2. salvage F3 F4.
175: on] one Q.
184: lady. For] lady: for Q F1 F2 F3. lady, for F4. lady for Rowe.
185: [Exit.] Rowe.
189: thee.] thee? Pope.
193: Scene iv. Pope.
195: let me be] Q F1. let me see F2 F3 F4. let be Capell.
let me be: pluck] let me pluck Malone conj.
197: Scene iv. Hanmer.
Enter...] Hanmer. Enter Constables, C. and B. Q (after 192). Enter Constable, C. and B. Ff (after 192).
198: weigh more] more weigh S. Walker conj.
an] if Pope.
211: you lay] lay you F4.
215: Who] Q F1. Whom F2 F3 F4.
222: overheard] heard F4.
232: whiles] while Rowe.
234: Yea, and...of it] Yea; And...on’t S. Walker conj.
and] om. Pope.
richly] rich F2 F3 F4.
235: and framed] om. F3 F4.
240: reformed] informed F3 F4.
245: Scene v. Pope.
Re-enter...] Capell. Enter Leonato. Q Ff. Enter L. and Sexton. Theobald.
249: Art thou] Q. Art thou thou F1. Art thou, art thou F2 F3 F4.
259: Impose] Expose Hanmer.
me to] to me Capell conj.
264: to] too F3 F4.
265: I cannot bid you bid my daughter live] Q F1. I cannot bid you daughter live F2. I cannot bid your daughter live F3. You cannot bid my daughter live F4. You cannot bid my daughter live again Rowe. I cannot bid you cause my daughter live Collier MS.
285: pack’d] packt Q Ff. pact Collier.
306: arrant] errant F4.
311: [Exeunt D. and V.] Edd. Exeunt D., V. and Watch. Capell. Exeunt. Ff (after line 312). om. Q.
315: [To the Watch.] Edd.
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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