Love's Labour's Lost (version 2) - Sách nói Miễn phí
1/6Dramatis Personae
Love's Labour's Lost (version 2)
A Midsummer-Night’s Dream, IV, 1.
A Midsummer-Night’s Dream, IV, 1.
Act iv.] See note (vi).
Enter...] Enter Queen of Fairies, and Clown, and Fairies, and the King behind them. Qq Ff.
7: Mounsieur] Qq Ff. Monsieur Rowe. See note (vii).
10: get you] Q1. get Q2 Ff.
18: your] thy Pope.
neaf] neafe Qq F1. newfe F2. newse F3. news F4.
Mustardseed] Qq F1 F2. Mustard F3 F4.
21: Cavalery] Qq F1. Cavalero F2 F3 F4.
22: Cobweb] Peas-blossom Grey conj.
23: marvellous] marvailes Q1 marvels Capell. See note (ii).
24: do] doth Rowe (ed. 2).
25: some] some some Q2.
26: Let’s] Q1. Let us Q2 Ff.
27: tongs] tongues F2.
Musick Tongs, Rural Musick. Ff. om. Q1.
32, 33: Printed in Q2 Ff as three lines ending fairy...hoard...nuts.
33: hoard] Q2 Ff. om. Q1.
thee] thee thence Hanmer. thee the S. Walker conj.
38: all ways] Theobald. alwaies Qq F1. alwayes F2 F3. always F4. a while Hanmer.
all ways away] away—away Upton conj. always i’ th’ way Heath conj.
39: Qq and Ff punctuate woodbine,...honisuckle,...entwist;
woodbine] woodrine Upton conj. weedbind Steevens conj.
40: entwist; the female] entwist the maple; Warburton conj.
40, 41: entwist;......Enrings] entwist,...Enring, Capell.
46: favours] Q1 F4. savours Q2 F1 F2 F3.
52: flowerets’] flouriets Qq Ff.
57: fairy] Qq Ff. fairies Dyce.
62: this] the Johnson.
63: other] others Rowe.
68: Be] Qq. Be thou Ff.
70: o’er] Theobald (Thirlby conj.). or Qq Ff.
76: do] Q1 F2 F3 F4. doth Q2 F1.
his] Q1. this Q2 Ff.
77: this] Qq. his Ff.
79: sleep of all these five] Theobald (Thirlby conj.). sleepe: of all these, fine Qq F1 F2. sleep; of all these find F3 F4. sleep. Of all these fine Rowe (ed. 2).
80: ho!] howe Q1.
81: Now, when thou wakest] Q1. When thou wak’st Q2 F1. When thou awak’st F2 F3 F4.
87: fair prosperity] Q1. fair posterity Q2 Ff. far posterity Hanmer.
88: the] Qq F1. these F2 F3 F4.
90: Fairy] Qq. Faire F1 F2. Fair F3 F4.
92: sad] fade Theobald.
93: the night’s] Rowe. the nights Q2 Ff. nights Q1.
98: After this line Ff give the stage direction [Sleepers lye still.
99: [Horns......within.] [Winde horne. Q1. [Winde hornes. Q2 Ff.
100. Scene ii. Pope.
104: let them] om. Pope.
110: bear] Qq Ff. boar Hanmer.
113: fountains] mountains Anon. ap. Theobald conj.
114: Seem’d] F2 F3 F4. Seeme Qq F1.
119: Thessalian] Thessalonian F4.
125: is] om. Q1.
127: Nedar’s] Nestor’s S. Walker conj.
128: of their] Q1. of this Q2 Ff. at their Pope.
130: rite] Pope. right Qq Ff.
136: [He and the rest kneel to Theseus. Capell.
141: is] is is F1.
149, 150: might,...law.] might...lawe, Q1. might be...law. Q2 Ff. might,...law,— Dyce. might Be without peril...law. Hanmer.
160: following] Q1. followed Q2 Ff.
162–164: Qq and Ff end the lines at love...snow...gaud.
163: Melted as] Is melted as Pope. Melted as doth Capell. All melted as Anon. conj.
169: saw Hermia] Steevens. see Hermia Qq Ff. did see Hermia Rowe (ed. 1). Hermia saw Rowe (ed. 2).
170: in sickness] Steevens (Farmer conj.). a sickness Qq Ff.
172: I do] Q1. do I Q2 Ff.
175: more will hear] Q1. will hear more Q2. shall hear more Ff.
183: Come, Hippolyta] Come, my Hippolita Capell.
184: Dem.] Lys. Capell conj.
[Exeunt...] Exit Duke and Lords. Ff.
188: like] om. Hanmer.
jewel] gemell Theobald (Warburton).
189, 190: Are you sure That we are awake?] Qq. omitted in Ff. But are you sure That we are well awake Capell. But are you sure That we are now awake Steevens conj. Are you sure That we are now awake Malone conj. Are you sure That we are yet awake Anon. conj.
194: did bid] Q1. bid Q2 Ff.
195, 196: Printed as prose in Qq Ff, as verse in Rowe (ed. 2).
196: let us] Q2 Ff. lets Q1.
197: Scene iii. Pope.
[Awaking] Bottom wakes. Ff. om. Qq.
201: I have had a dream] Qq. I had a dream Ff.
203: to] om. Q1.
205: a patched] Ff. patcht a Qq. {Transcriber's Note: this linenote has been copied to this location from the original book's ADDENDA.}
212: a play] the play Hanmer. our play S. Walker conj.
213: at her] after Theobald. at Thisby’s Collier MS.
Giới thiệu
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.
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