Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
MAAN I. 3
000 Scene III. The same.
MAAN I. 3 Enter Don John and Conrade.
001 Con. What the good-year, my lord! why are you thus out of measure sad?
D. John. There is no measure in the occasion that 004 breeds; therefore the sadness is without limit.
005 Con. You should hear reason.
D. John. And when I have heard it, what blessing 007 brings it?
008 Con. If not a present remedy, at least a patient sufferance.
D. John. I wonder that thou, being (as thou sayest thou 010 art) born under Saturn, goest about to apply a moral medicine to a mortifying mischief. I cannot hide what I am: I must be sad when I have cause, and smile at no man’s jests; eat when I have stomach, and wait for no man’s leisure; sleep when I am drowsy, and tend on no man’s business; 015 laugh when I am merry, and claw no man in his humour.
016 Con. Yea, but you must not make the full show of this 017 till you may do it without controlment. You have of late stood out against your brother, and he hath ta’en you newly 019 into his grace; where it is impossible you should take true 020 root but by the fair weather that you make yourself: it is needful that you frame the season for your own harvest.
D. John. I had rather be a canker in a hedge than a rose 023 in his grace; and it better fits my blood to be disdained of all than to fashion a carriage to rob love from any: in this, 025 though I cannot be said to be a flattering honest man, it must not be denied but I am a plain-dealing villain. I am 027 trusted with a muzzle, and enfranchised with a clog; therefore I have decreed not to sing in my cage. If I had my mouth, I would bite; if I had my liberty, I would do my 030 liking: in the meantime let me be that I am, and seek not to alter me.
Con. Can you make no use of your discontent?
033 D. John. I make all use of it, for I use it only. Who comes here?
Enter Borachio.
035 What news, Borachio?
036 Bora. I came yonder from a great supper: the prince your brother is royally entertained by Leonato; and I can give you intelligence of an intended marriage.
D. John. Will it serve for any model to build mischief 040 on? What is he for a fool that betroths himself to unquietness?
Bora. Marry, it is your brother’s right hand.
D. John. Who? the most exquisite Claudio?
Bora. Even he.
045 D. John. A proper squire! And who, and who? which way looks he?
047 Bora. Marry, on Hero, the daughter and heir of Leonato.
048 D. John. A very forward March-chick! How came you 049 to this?
050 Bora. Being entertained for a perfumer, as I was smoking a musty room, comes me the prince and Claudio, 052 hand in hand, in sad conference: I whipt me behind the arras; and there heard it agreed upon, that the prince should woo Hero for himself, and having obtained her, give 055 her to Count Claudio.
D. John. Come, come, let us thither: this may prove food to my displeasure. That young start-up hath all the glory of my overthrow: if I can cross him any way, I bless myself 059 every way. You are both sure, and will assist me?
060 Con. To the death, my lord.
D. John. Let us to the great supper: their cheer is the greater that I am subdued. Would the cook were of my mind! Shall we go prove what’s to be done?
Bora. We’ll wait upon your lordship. [Exeunt.
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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