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Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid- 1. Inns of Court before Queen Elizabeth I. It follows the King of Navarre and his three companions as they attempt to forswear the company of women for three years of study and fasting, and their subsequent infatuation with the Princess of Aquitaine and her ladies. In an untraditional ending for a comedy, the play closes with the death of the Princess's father, and all weddings are delayed for a year. The play draws on themes of masculine love and desire, reckoning and rationalization, and reality versus fantasy. Though first published in quarto in 1. While there are no obvious sources for the play's plot, the four main characters are loosely based on historical figures. The use of apostrophes in the play's title varies in early editions, though it is most commonly given as Love's Labour's Lost. The historical personages portrayed and the political situation in Europe relating to the setting and action of the play were familiar to Shakespeare's audiences. Scholars suggest that the play lost popularity as these historical and political portrayals of Navarre's court became dated and less accessible to theatergoers of later generations. The play's sophisticated wordplay, pedantic humour and dated literary allusions may also be reasons for its relative obscurity, as compared with Shakespeare's more popular works. Love's Labour's Lost was staged rarely in the 1. Royal Shakespeare Company and the National Theatre, among others. It has also been adapted as a musical, an opera, for radio and television and as a musical film. Love's Labour's Lost features the longest scene (5. They devote themselves to three years of study and fasting; Berowne agrees somewhat more hesitantly than the others. The King declares that no woman should come within a mile of the court. Don Adriano de Armado, a Spaniard visiting the court, comes to tell the King of a tryst between Costard and Jaquenetta. Fantastic performance of Love's Labour's Lost. Joanne White Joanne White. We were just privileged to see your marvelous performance of Love's Labors Lost at Zellerbach Hall in Berkeley, CA. My 7 year old son accompanied me. Season 1 Episode 19: Directed by: Mimi Leder: Written by: Lance Gentile: Production code: 456618: Original air date: March 9, 1995: Guest appearance(s). After the King sentences Costard, Don Armado confesses his own love for Jaquenetta to his page, Moth. Don Armado writes Jaquenetta a letter and asks Costard to deliver it. The Princess of France and her ladies arrive, wishing to speak to the King regarding the cession of Aquitaine, but must ultimately make their camp outside the court due to the decree. In visiting the Princess and her ladies at their camp, the King falls in love with the Princess, as do the lords with the ladies. Berowne gives Costard a letter to deliver to the lady Rosaline, which Costard switches with Don Armado's letter that was meant for Jaquenetta. Jaquenetta consults two scholars, Holofernes and Sir Nathaniel, who conclude that the letter is written by Berowne and instruct her to tell the King. The King and his lords lie in hiding and watch one another as each subsequently reveals their feelings of love. The King ultimately chastises the lords for breaking the oath, but Berowne reveals that the King is likewise in love with the Princess. Jaquenetta and Costard enter with Berowne's letter and accuse him of treason. Berowne confesses to breaking the oath, explaining that the only study worthy of mankind is that of love, and he and the other men collectively decide to relinquish the vow. Arranging for Holofernes to entertain the ladies later, the men then dress as Muscovites and court the ladies in disguise. Boyet, having overheard their planning, helps the ladies trick the men by disguising themselves as each other. When the lords return as themselves, the ladies taunt them and expose their ruse. Impressed by the ladies' wit, the men apologize, and when all identities are righted, they watch Holofernes, Sir Nathaniel, Costard, Moth, and Don Armado present the Nine Worthies. Their spat is interrupted by news that the Princess's father has died. The Princess makes plans to leave at once, and she and her ladies, readying for mourning, declare that the men must wait a year and a day to prove their loves lasting. A short summary of William Shakespeare's Love's Labour's Lost. This free synopsis covers all the crucial plot points of Love's Labour's Lost. Don Armado announces he will swear a similar oath to Jaquenetta and then presents the nobles with a song. Sources. This means that the witty portrayal of Navarre's court could remain reasonably effective until the assassination of Henry IV in 1. Such considerations suggest that the portrayals of Navarre and the civil- war generals presented Elizabethan audiences not with a mere collection of French names in the news, but with an added dramatic dimension which, once lost, helps to account for the eclipse Love's Labour's Lost soon underwent. The title page states that the play was . Love's Labour's Won is considered by some to be a lost sequel. Shakespeare critic and editor Edward Capell has pointed out that certain passages within the speech seem to be redundant and argues that these passages represent a first draft which was not adequately corrected before going to print. The use of apostrophes varies in early editions. In its first 1. 59. Loues labors lo. In the 1. First Folio it is Loues Labour's Lost and in the 1. Loues Labours Lost. In the Third Folio it appears for the first time with the modern punctuation and spelling as Love's Labour's Lost. Hale suggests that the witty alliteration of the title is in keeping with the pedantic nature of the play. It has never been among Shakespeare's most popular plays, probably because its pedantic humour and linguistic density are extremely demanding of contemporary theatregoers. The men's sexual appetite manifests in their desire for fame and honour; the notion of women as dangerous to masculinity and intellect is established early on. The King and his Lords' desires for their idealized women are deferred, confused, and ridiculed throughout the play. As the play comes to a close, their desire is deferred yet again, resulting in an increased exaltation of the women. Don Armado also represents masculine desire through his relentless pursuit of Jacquenetta. The theme of desire is heightened by the concern of increasing female sexuality throughout the Renaissance period and the subsequent threat of cuckoldry. Politics of love, marriage, and power are equally forceful in shaping the thread of masculine desire that drives the plot. Though the play entwines fantasy and reality, the arrival of the messenger to announce the death of the Princess's father ultimately brings this notion to a head. Scholar Cynthia Lewis suggested that the appearance of the final reckoning is necessary in reminding the lovers of the seriousness of marriage. This is presented in stark contrast to the final scene, in which the act of reckoning cannot be avoided. In acknowledging the consequences of his actions, Don Armado is the only one to deal with his reckoning in a noble manner. The Lords and the King effectively pass judgement on themselves, revealing their true moral character when mocking the players during the representation of the Nine Worthies. The ladies are able to talk themselves into falling in love with the men due to the rationalization of the men's purported flaws. Lewis concluded that . The Lords and the King's declaration of abstinence is a fancy that falls short of achievement. This fantasy rests on the men's idea that the resulting fame will allow them to circumvent death and oblivion, a fantastical notion itself. Within moments of swearing their oath, it becomes clear that their fantastical goal is unachievable given the reality of the world, the unnatural state of abstinence itself, and the arrival of the Princess and her ladies. This juxtaposition ultimately lends itself to the irony and humour in the play. Like the men's fantastical pursuit of fame, the play within a play represents the commoners' concern with fame. The relationship between the fantasy of love and the reality of worthwhile achievement, a popular Renaissance topic, is also utilized throughout the play. Don Armado attempts to reconcile these opposite desires using Worthies who fell in love as model examples. The Princess, though originally . This suggests that the majority of the action takes place within a fantasy world. Only with the news of the Princess's father's death are time and reality reawakened. The songs of spring and winter, titled . Given the critical controversy regarding the exact dating of Love's Labour's Lost, there is some indication that . Due to the opposing nature of the two songs, they can be viewed as a debate on the opposing attitudes on love found throughout the play. The songs, a product of traditional comedic structure, are a method by which the play can be . Song is allowed into the world of the play at the beginning of Act III, after the Princess and her ladies have been introduced and the men begin to fall in love. Don Armado insists that Moth sing it twice, but he does not. Berger infers that a song was intended to be inserted at this point, but was never written. Had a song been inserted at this point of the play, it would have followed dramatic convention of the time, which often called for music between scenes. A second performance is recorded to have occurred in 1. Earl of Southampton or at that of Robert Cecil, Lord Cranborne. The first known production after Shakespeare's era was not until 1. Theatre Royal, Covent Garden, with Madame Vestris as Rosaline. The whole dialogue is but a string of brilliant conceits, which, if not delivered well, are tedious and unintelligible. The manner in which it was played last night destroyed the brilliancy completely, and left a residuum of insipidity which was encumbered rather than relieved by the scenery and decorations. James's Theatre in 1. In 1. 94. 9, the play was given at the New Theatre with Redgrave in the role of Berowne. The critic Michael Billington wrote in his review of the production: . It both celebrates and satisfies linguistic exuberance, explores the often painful transition from youth to maturity, and reminds us of our common mortality. |
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