《Love's Labour's Lost (version 2)》 - 免费有声读物
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Much Ado About Nothing, IV. 1.
Much Ado About Nothing, IV. 1.
Scene i. and attendants.] om. Q Ff. Guests and attendants. Grant White.
4: lady.] lady? Rowe (ed. 2).
6: her: friar,] Q F1. her, friar, F2 F3 F4. her, friar; Rowe (ed. 2).
9: count.] count? Rowe (ed. 2).
19: not knowing what they do!] Q. omitted in Ff.
42–44: S. Walker proposes to make four lines ending lord?...soul...lord,...proof.
43: Not to knit] Q F1. Not knit F2 F3 F4. Nor knit Steevens conj. Not to be...soul as one line, Steevens (Tyrwhitt conj.).
44: Dear] Dear, dear Capell.
proof] approof Theobald.
48: You will] You’ll Pope.
55: thee! Seeming] Grant White. thee seeming Q Ff. thy seeming Pope. the seeming Knight.
write] rate Warburton conj.
56: You...orb] Becket would put in inverted commas.
seem] seem’d Hanmer.
Dian] Diane Q F1 F2. Diana F3 F4.
60: rage] range Collier MS.
61: wide] wild Collier MS.
62: Leon.] Claud. Tieck.
75: do so] Q F2. doe F1. to do F3 F4.
78: F2 F3 F4 give this line to Leonato; Theobald restored it to Claudio.
81: itself] herself Rowe.
86: are you] Q. you are Ff.
91: most like a liberal] like an illiberal Hanmer. like a most liberal Anon. conj.
94: Fie, fie] Fie Hanmer, dividing the lines, A thousand...are Not...spoke of.
95: spoke] Q. spoken Ff.
97: Thus] Thou Collier MS.
101: thy thoughts] Q Ff. the thoughts Rowe.
108: [Hero swoons] Hanmer.
111: [Exeunt...] Rowe. om. Q Ff.
112: Scene ii. Pope.
118: look up] still look up Steevens conj.
120: Why, doth not] Theobald. Why doth not Q Ff.
125: shames] shame’s F3 F4.
126: rearward] F3 F4. rereward Q. reward F1. reareward F2. hazard Collier MS. re-word Brae conj.
128: frame] ’fraine Warburton. hand Hanmer. frown Collier MS.
129: O,] Q F1. om. F2 F3 F4. I’ve Rowe.
131: I not] not I Rowe.
133: smirched] Q. smeered F1 F2 F3. smeer’d F4.
136, 137: and...and...And] as...as...As Warburton.
140: ink,] ink! Capell.
143: foul-tainted] foule tainted Q Ff. soul-tainted Collier MS.
143–145: Sir, sir...to say] Printed as prose in Q Ff, as verse by Pope.
152: Would the two princes lie, and Claudio lie] Q. Would the princes lie and Claudio lie F1. Would the prince lie and Claudio would he lie F2 F3 F4.
155–158: Hear me......mark’d] See note (xxi).
156: been silent] silent been Grant White.
157: course] cross Collier MS.
159, 160: apparitions To start into] Q F1 F2 F3. apparitions To start in F4. apparitions start Into Reed.
161: beat] beate Q. beare F1 F2. bear F3 F4.
165: observations] observation Hanmer.
167: tenour] Theobald. tenure Q Ff.
book] books Heath conj.
168: reverence, calling] reverend calling Collier MS.
170: biting] blighting Collier MS.
Friar] om. Hanmer.
185: princes] Q F1. prince F2 F3 F4.
186: bent] bend Becket conj.
188: lives] lies S. Walker conj.
189: frame of] fraud and Collier MS.
192: of it] it F3 F4.
197: kind] cause Capell conj. MS.
200: throughly] thoroughly F4.
202: princes left for dead] Theobald. princesse (left for dead) Q Ff.
217: it so] so it F4.
219: Whiles] Whilst Pope.
lack’d and lost] lost and lack’d Collier MS.
220: rack] reck Johnson (ed. 1).
222: Whiles] Whilst Rowe. Whist Warburton.
224: life] love Pope.
228: moving-delicate] Capell. moving delicate, Q F1. moving, delicate, F2 F3 F4.
249: I flow in grief] I flow In grief, alas, Hanmer. alas, I flow in grief Capell.
254: [Exeunt...] Exit. Q Ff.
255: Scene iii. Pope.
273: swear] Q. swear by it Ff.
289: it] Q. om. Ff.
290: [He seizes her. Halliwell.
299: he] Rowe. a Q Ff.
311: Beat—] Theolbald Beat? Q F1. Bett? F2 F3. But? F4. But— Rowe. But, Beatrice— Steevens conj.
312: counties] counts Rowe (ed. 2).
313: count, Count Comfect] counte, counte comfect Q. count, comfect F1. count-comfect F2 F3 F4. Count—confect Grant White.
316: courtesies] cursies Q F1. curtsies F2. curtesies F3 F4. courtesy Collier MS. curses Grant White conj.
317: tongue] tongues Hanmer.
328: I leave] Q. leave Ff.
329: a dear] Q F1. dear F2 F3 F4.
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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