Love's Labour's Lost (version 2) - Бесплатная аудиокнига
1/6Dramatis Personae
Love's Labour's Lost (version 2)
AYLI II. 1
ACT II.
Scene I. The Forest of Arden.
AYLI II. 1 Enter Duke senior, Amiens, and two or three Lords, like foresters.
001 Duke S. Now, my co-mates and brothers in exile,
Hath not old custom made this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court?
005 Here feel we but the penalty of Adam,
006 The seasons’ difference; as the icy fang
And churlish chiding of the winter’s wind,
Which, when it bites and blows upon my body,
Even till I shrink with cold, I smile and say
010 ‘This is no flattery: these are counsellors
That feelingly persuade me what I am.’
Sweet are the uses of adversity;
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head:
015 And this our life exempt from public haunt
Finds tongues in trees, books in the running brooks,
Sermons in stones and good in every thing.
018 I would not change it.
Ami.
Happy is your Grace,
That can translate the stubbornness of fortune
020 Into so quiet and so sweet a style.
Duke S. Come, shall we go and kill us venison?
And yet it irks me the poor dappled fools,
Being native burghers of this desert city,
Should in their own confines with forked heads
Have their round haunches gored.
First Lord.
025 Indeed, my lord,
The melancholy Jaques grieves at that,
And, in that kind, swears you do more usurp
Than doth your brother that hath banish’d you.
To-day my Lord of Amiens and myself
030 Did steal behind him as he lay along
031 Under an oak whose antique root peeps out
Upon the brook that brawls along this wood:
To the which place a poor sequester’d stag,
That from the hunter’s aim had ta’en a hurt,
035 Did come to languish, and indeed, my lord,
The wretched animal heaved forth such groans,
That their discharge did stretch his leathern coat
Almost to bursting, and the big round tears
Coursed one another down his innocent nose
040 In piteous chase; and thus the hairy fool,
Much marked of the melancholy Jaques,
042 Stood on the extremest verge of the swift brook,
Augmenting it with tears.
Duke S.
But what said Jaques?
Did he not moralize this spectacle?
045 First Lord. O, yes, into a thousand similes.
First, for his weeping into the needless stream;
‘Poor deer,’ quoth he, ‘thou makest a testament
As worldlings do, giving thy sum of more
049 To that which had too much:’ then, being there alone,
050 Left and abandon’d of his velvet friends;
‘’Tis right,’ quoth he; ‘thus misery doth part
The flux of company:’ anon a careless herd,
Full of the pasture, jumps along by him
And never stays to greet him; ‘Ay,’ quoth Jaques,
055 ‘Sweep on, you fat and greasy citizens;
’Tis just the fashion: wherefore do you look
Upon that poor and broken bankrupt there?’
Thus most invectively he pierceth through
059 The body of the country, city, court,
060 Yea, and of this our life; swearing that we
Are mere usurpers, tyrants and what’s worse,
062 To fright the animals and to kill them up
In their assign’d and native dwelling-place.
Duke S. And did you leave him in this contemplation?
065 Sec. Lord. We did, my lord, weeping and commenting
Upon the sobbing deer.
Duke S.
Show me the place:
I love to cope him in these sullen fits,
For then he’s full of matter.
First Lord. I’ll bring you to him straight. [Exeunt.
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
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