《Love's Labour's Lost (version 2)》 - 免费有声读物
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Love’s Labour’s Lost, I, 1.
Linenotes-Love’s Labour’s Lost
Love’s Labour’s Lost, I, 1.
Scene i. The king...park] See note (iii).
Biron] F2 F3 F4. Berowne Qq F1 and passim.
3: And...death] Put in the margin as spurious by Pope.
13: Academe] Q2 F2. Achademe Q1 F1. Academy F3 F4.
18: schedule] sedule Q1. scedule Q2 Ff.
23: oaths] oath Steevens. See note (iv).
keep it too] keepe it to Qq F1 keep them to F2. keep them too F3 F4.
27: bankrupt quite] bancrout quite Q1. bankerout Ff. banquerout Q2. quite restored by Pope, and again rejected by Theobald.
29: these] this Collier MS.
31: pomp] pome Q1.
62: feast...forbid] Theobald. fast...forbid Qq Ff. fast...fore-bid Theobald conj.
65: hard a keeping] hard-a-keeping Hanmer.
67: thus] Qq Ff. this Pope.
72: Why,] Pope. Why? Qq Ff. but] Q1. and Ff Q2.
77: of light] Qq F1. om. F2 F3 F4.
83: it was] was it Steevens.
87: base] bare S. Walker conj.
others’] other Rowe (ed. 1).
92: nought but fame;] nought: but feign; Warburton. nought but shame; Id. conj.
103: any] Qq Ff. an Pope.
106: in] on Capell.
new-fangled] new-spangled Grey conj.
shows] F3 F4. showes Qq F1 F2. earth Theobald. mirth S. Walker conj. Malone supposes a line to be lost after line 103.
108: So you, to study] Go you to study, Anon. conj. But you’ll to study, Lettsom conj.
to study] by study Collier MS.
109: Climb o’er the house to unlock the little gate] Q1 That were to climb o’er the house to unlock the gate Ff Q2. Climb o’er the house-top to unlock the gate Collier MS. That were to climb the house o’er to unlock the gate Grant White.
110: sit] Qq F2 F3 F4. fit F1. set Malone conj. See note (v).
114: I’ll keep what] I’ll keep to what Collier MS.
swore] F2 F3 F4. sworne Qq F1.
117: strict’st] F2 F3 F4. strictest Qq F1.
123: this penalty?] this? Steevens, reading On...this? as a verse.
127: Biron] Theobald. Qq Ff continue this line to Longaville.
gentility] gentletie Q1. garrulity Theobald conj. scurrility Staunton conj.
130: can possibly] Pope. can possible Q1. shall possibly Ff Q2.
136: bedrid] bedred Q1.
138: hither] rather Collier MS.
146: She] We Capell.
147: us all] us both Q2.
151: speak] Q1. break Ff Q2. plead Collier MS.
153: [Subscribes.] Subscribes and gives back the paper. Capell.
156: Other] Q1. others Ff Q2.
158: will last] last will S. Walker conj.
161: refined] Qq F1. conceited F2 F3 F4.
162: world’s] world’s Qq F1. world F2 F3 F4.
world’s...planted] world-new fashions flaunted Collier MS.
164: One whom] F2 F3 F4. on who Q1. one who F1 Q2.
176: fire-new] fire, new F1.
178: is] are Pope.
Enter......Costard] Malone. Enter a Constable with Costard with a letter. Qq Ff.
179: Duke’s] Qq Ff. King’s Theobald.
182: tharborough] farborough Q1.
191: heaven] having Theobald. haven Jackson conj. hearing Collier MS.
193: laughing] Capell. hearing Qq Ff.
194: and] om. Rowe (ed. 2).
197: climb] F3 F4. clime Qq F1 F2. chime Collier MS.
199: with the manner] with the manor Hanmer. in the manner Warburton.
205: it is] Qq F1. is F2 F3 F4. in Rowe (ed. 2).
220: true, but so] true: but so Qq Ff. true, but so, so Hanmer.
237: minnow] Qq Ff. minion or minim Anon. conj.
239, 241, 243: Me?...Me?...me?] Ff Q2. Mee?...Mee?...mee. Q1. Me...Me...me. Hanmer.
242: vassal] vessel Collier MS.
247: which] with, Theobald.
251: sweet] Qq F1. om. F2 F3 F4.
252: meed] need Warburton.
253: thy] Qq F1. the F2 F3 F4.
257: keep] Qq F2 F3 F4. keeper F1.
vessel] vassal Theobald.
260: Adriano] Qq. Adriana Ff.
271: I...I] It...I F2.
272, 273, 274: damsel] Q1, except in line 241 demsel. damosell Ff Q2.
287: [Exeunt...] Exeunt. F2 F3 F4. om. Qq F1.
288: good man’s hat] man’s good hat Capell conj. goodman’s hat Anon. conj.
290: Given to Constable in Collier MS.
293: prosperity] prosperie Q1.
294: till then, sit thee] Q1. untill then sit Ff Q2. untill then set thee Collier MS.
关于
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.
Love's Labour's Lost (version 2)的其他版本
- Love's Labour's Lost — 朗读：多位朗读者 · 英语
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