Love's Labour's Lost (version 2) - Бесплатная аудиокнига
1/6Dramatis Personae
Love's Labour's Lost (version 2)
MAAN III. 1
ACT III.
000 Scene I. Leonato’s garden.
MAAN III. 1 Enter Hero, Margaret, and Ursula.
001 Hero. Good Margaret, run thee to the parlour;
There shalt thou find my cousin Beatrice
Proposing with the prince and Claudio:
004 Whisper her ear, and tell her, I and Ursula
005 Walk in the orchard, and our whole discourse
Is all of her; say that thou overheard’st us;
And bid her steal into the pleached bower,
Where honeysuckles, ripen’d by the sun,
009 Forbid the sun to enter; like favourites,
010 Made proud by princes, that advance their pride
Against that power that bred it: there will she hide her,
012 To listen our propose. This is thy office;
Bear thee well in it, and leave us alone.
014 Marg. I’ll make her come, I warrant you, presently. [Exit.
015 Hero. Now, Ursula, when Beatrice doth come,
As we do trace this alley up and down,
Our talk must only be of Benedick.
When I do name him, let it be thy part
To praise him more than ever man did merit:
020 My talk to thee must be, how Benedick
Is sick in love with Beatrice. Of this matter
Is little Cupid’s crafty arrow made,
That only wounds by hearsay.
023 Enter Beatrice, behind.
Now begin;
For look where Beatrice, like a lapwing, runs
025 Close by the ground, to hear our conference.
Urs. The pleasant’st angling is to see the fish
Cut with her golden oars the silver stream,
And greedily devour the treacherous bait:
029 So angle we for Beatrice; who even now
030 Is couched in the woodbine coverture.
Fear you not my part of the dialogue.
Hero. Then go we near her, that her ear lose nothing
033 Of the false sweet bait that we lay for it. [Approaching the bower.
034 No, truly, Ursula, she is too disdainful;
035 I know her spirits are as coy and wild
As haggerds of the rock.
Urs.
But are you sure
That Benedick loves Beatrice so entirely?
Hero. So says the prince and my new-trothed lord.
Urs. And did they bid you tell her of it, madam?
040 Hero. They did entreat me to acquaint her of it;
But I persuaded them, if they loved Benedick,
042 To wish him wrestle with affection,
And never to let Beatrice know of it.
Urs. Why did you so? Doth not the gentleman
045 Deserve as full as fortunate a bed
As ever Beatrice shall couch upon?
Hero. O god of love! I know he doth deserve
As much as may be yielded to a man:
But Nature never framed a woman’s heart
050 Of prouder stuff than that of Beatrice;
051 Disdain and scorn ride sparkling in her eyes,
Misprising what they look on; and her wit
Values itself so highly, that to her
All matter else seems weak: she cannot love,
055 Nor take no shape nor project of affection,
She is so self-endeared.
Urs.
Sure, I think so;
And therefore certainly it were not good
058 She knew his love, lest she make sport at it.
Hero. Why, you speak truth. I never yet saw man,
060 How wise, how noble, young, how rarely featured,
But she would spell him backward: if fair-faced,
062 She would swear the gentleman should be her sister;
063 If black, why, Nature, drawing of an antique,
Made a foul blot; if tall, a lance ill-headed;
065 If low, an agate very vilely cut;
If speaking, why, a vane blown with all winds;
If silent, why, a block moved with none.
So turns she every man the wrong side out;
And never gives to truth and virtue that
070 Which simpleness and merit purchaseth.
Urs. Sure, sure, such carping is not commendable.
072 Hero. No, not to be so odd, and from all fashions,
As Beatrice is, cannot be commendable:
But who dare tell her so? If I should speak,
075 She would mock me into air; O, she would laugh me
Out of myself, press me to death with wit!
Therefore let Benedick, like cover’d fire,
Consume away in sighs, waste inwardly:
079 It were a better death than die with mocks,
080 Which is as bad as die with tickling.
Urs. Yet tell her of it: hear what she will say.
Hero. No; rather I will go to Benedick,
And counsel him to fight against his passion.
And, truly, I’ll devise some honest slanders
085 To stain my cousin with: one doth not know
How much an ill word may empoison liking.
Urs. O, do not do your cousin such a wrong!
She cannot be so much without true judgement,—
089 Having so swift and excellent a wit
090 As she is prized to have,—as to refuse
091 So rare a gentleman as Signior Benedick.
Hero. He is the only man of Italy,
Always excepted my dear Claudio.
Urs. I pray you, be not angry with me, madam,
095 Speaking my fancy: Signior Benedick,
096 For shape, for bearing, argument and valour,
Goes foremost in report through Italy.
Hero. Indeed, he hath an excellent good name.
Urs. His excellence did earn it, ere he had it.
100 When are you married, madam?
101 Hero. Why, every day, to-morrow. Come, go in:
I’ll show thee some attires; and have thy counsel
103 Which is the best to furnish me to-morrow.
104 Urs. She’s limed, I warrant you: we have caught her, madam.
105 Hero. If it prove so, then loving goes by haps:
106 Some Cupid kills with arrows, some with traps. [Exeunt Hero and Ursula.
Beat. [Coming forward] 107 What fire is in mine ears? Can this be true?
Stand I condemn’d for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
110 No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
115 For others say thou dost deserve, and I
Believe it better than reportingly. [Exit.
О книге
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.
Другие версии: Love's Labour's Lost (version 2)
- Love's Labour's Lost — читает несколько чтецов · Английский
Комментарии
Будьте первым, кто оставит комментарий
К этому контенту пока нет комментариев. Начните обсуждение!













