Love's Labour's Lost (version 2) - Sách nói Miễn phí
1/6Dramatis Personae
Love's Labour's Lost (version 2)
TMOV II. 6
000 Scene VI. The same.
TMOV II. 6 Enter Gratiano and Salarino, masqued.
Gra. This is the pent-house under which Lorenzo
002 Desired us to make stand.
Salar.
His hour is almost past.
Gra. And it is marvel he out-dwells his hour,
For lovers ever run before the clock.
005 Salar. O, ten times faster Venus’ pigeons fly
006 To seal love’s bonds new-made, than they are wont
To keep obliged faith unforfeited!
Gra. That ever holds: who riseth from a feast
With that keen appetite that he sits down?
010 Where is the horse that doth untread again
His tedious measures with the unbated fire
That he did pace them first? All things that are,
Are with more spirit chased than enjoy’d.
014 How like a younker or a prodigal
015 The scarfed bark puts from her native bay,
Hugg’d and embraced by the strumpet wind!
017 How like the prodigal doth she return,
018 With over-weather’d ribs and ragged sails,
Lean, rent, and beggar’d by the strumpet wind!
020 Salar. Here comes Lorenzo: more of this hereafter.
Enter Lorenzo.
Lor. Sweet friends, your patience for my long abode;
Not I, but my affairs, have made you wait:
When you shall please to play the thieves for wives,
024 I’ll watch as long for you then. Approach;
025 Here dwells my father Jew. Ho! who’s within?
Enter Jessica, above, in boy’s clothes.
Jes. Who are you? Tell me, for more certainty,
Albeit I’ll swear that I do know your tongue.
Lor. Lorenzo, and thy love.
Jes. Lorenzo, certain; and my love, indeed,
030 For who love I so much? And now who knows
But you, Lorenzo, whether I am yours?
Lor. Heaven and thy thoughts are witness that thou art.
033 Jes. Here, catch this casket; it is worth the pains.
I am glad ’tis night, you do not look on me,
034 For I am much ashamed of my exchange:
But love is blind, and lovers cannot see
The pretty follies that themselves commit;
For if they could, Cupid himself would blush
To see me thus transformed to a boy.
040 Lor. Descend, for you must be my torch-bearer.
041 Jes. What, must I hold a candle to my shames?
They in themselves, good sooth, are too too light.
Why, ’tis an office of discovery, love;
And I should be obscured.
Lor.
044 So are you, sweet,
045 Even in the lovely garnish of a boy.
But come at once;
For the close night doth play the runaway,
And we are stay’d for at Bassanio’s feast.
Jes. I will make fast the doors, and gild myself
050 With some more ducats, and be with you straight. [Exit above.
051 Gra. Now, by my hood, a Gentile, and no Jew.
052 Lor. Beshrew me but I love her heartily;
For she is wise, if I can judge of her;
And fair she is, if that mine eyes be true;
055 And true she is, as she hath proved herself;
And therefore, like herself, wise, fair, and true,
Shall she be placed in my constant soul.
Enter Jessica, below.
058 What, art thou come? On, gentlemen; away!
059 Our masquing mates by this time for us stay. [Exit with Jessica and Salarino.
Enter Antonio.
060 Ant. Who’s there?
Gra. Signior Antonio!
061 Ant. Fie, fie, Gratiano! where are all the rest?
’Tis nine o’clock: our friends all stay for you.
No masque to-night: the wind is come about;
065 Bassanio presently will go aboard:
066 I have sent twenty out to seek for you.
067 Gra. I am glad on’t: I desire no more delight
Than to be under sail and gone to-night. [Exeunt.
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.
Các phiên bản khác của Love's Labour's Lost (version 2)
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