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At first glance, Shakespeare’s early comedy Love’s Labor’s Lost simply entertains and amuses. Four young men (one of them a king) withdraw from the world for three years, taking an oath that they will have nothing to do with women. The King of Navarre soon learns, however, that the Princess of France and her ladies are about to arrive. Although he lodges them outside of his court, all four men fall in love with the ladies, abandoning their oaths and setting out to win their hands.
The laughter triggered by this story is augmented by subplots involving a braggart soldier, a clever page, illiterate servants, a parson, a schoolmaster, and a constable so dull that he is named Dull. Letters and poems are misdelivered, confessions are overheard, entertainments are presented, and language is played with, and misused, by the ignorant and learned alike.
At a deeper level, Love’s Labor’s Lost also teases the mind. The men begin with the premise that women either are seductresses or goddesses. The play soon makes it clear, however, that the reality of male-female relations is different. That women are not identical to men’s images of them is a common theme in Shakespeare’s plays. In Love’s Labor’s Lost it receives one of its most pressing examinations.
The authoritative edition of Love's Labor's Lost from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:
-Freshly edited text based on the best early printed version of the play
-Full explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play’s famous lines and phrases
-An introduction to reading Shakespeare’s language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library’s vast holdings of rare books
-An annotated guide to further reading
Essay by William C. Carroll
The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
- Sales Rank: #310442 in Books
- Brand: Mowat, Barbara A./ Werstine, Paul
- Model: 1668473
- Published on: 2005-07-01
- Released on: 2005-07-01
- Original language: English
- Number of items: 1
- Dimensions: 6.75" h x .90" w x 4.19" l, .38 pounds
- Binding: Mass Market Paperback
- 352 pages
About the Author
William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.
Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.
Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.
Most helpful customer reviews
1 of 1 people found the following review helpful.
“Praise we may afford to any lady that subdues a lord.” (3.5 stars)
By B. Wilfong
“Love’s Labor’s Lost” is a Shakespeare that I just am not all that fond of. It is highly praised by critics, but its endless wordplay and battle of wits just wears me down. I have yet to see it in professional performance and when that happens (in the next week) I might have a different opinion. But having read it twice now, it does not do all that much for me.
I gave "Love’s Labor’s Lost" a 3.5 star rating compared to other Shakespeare, not to literature as a whole. The Bard is in a class of his own.
The Pelican Shakespeare edition features an introduction by Peter Holland that is one of the most unpleasing I have come across in the new Pelican editions. If you are not intimately familiar with the play it will in no manner enhance your reading of it.
For the sake of this review I will focus on some of the more pleasing aspects of the play. From his first entrance the character of Costard is a delight. Like most Shakespearean clowns he is the most honest person on the stage, and his bafflement at the antics of some of the nobler characters is easily shared by the reader. The play boasts another wonderful creation in the character of Don Adriano De Armado, a Spaniard who uses a ridiculous profusion of words to high comic effect. His speech at the end of Act 1:2 is a fun moment in the play.
Act 5 (one of the longest in Shakespeare) travels from riotous comedy to the pain of sudden death, as can life, and I guess that is the point. The text ends beautifully with two of the most evocative poems written by Shakespeare, the often anthologized “Spring” & “Winter”. As one critic has written of those two pieces, they are “an expression of the going-on power of life” and they end the play admirably.
There is nothing wrong with “Love’s Labor’s Lost”; it just does not get to me as much as other Shakespeare. The constant wordplay and confusion with some of the archaic language used in many of the jokes just keep me from fully getting pulled into the story of the play.
As for the Pelican Shakespeare series, they are my favorite editions since the scholarly research is usually top notch and the editions themselves look good as an aesthetic unit. It looks and feels like a play and this compliments the text's contents admirably. The Pelican series was recently reedited and has the latest scholarship on Shakespeare and his time period. Well priced and well worth it.
4 of 4 people found the following review helpful.
a fun early comedy
By NotATameLion
One of Shakespeare's earlier comedies, "Love's Labour's Lost" does not even hold a candle to some of the Bard's greatest comedic works (A Midsummer Night's Dream, The Tempest, The Winter's Tale). Yet, for all its lack of blazing greatness, the play is indeed a joyful diversion.
The plot is that of a philosopher's paradise being invaded by the most nefarious of things...love.
Shakespeare means many things when he speaks of love: often it can be shallow, bawdy lecherous love, sometimes it is an almost Petrachan yearning "courtly" love, once in a while it is a self destructive, clasping, obsessive love. Here it is pretty much straight-up attraction of the "hey, I'd like to marry you" variety.
As the noble, well-meaning but unable to restrain themselves philosopher's fall for the beauties of this tale, many awkward situations occur. Much of the humor here is of this vein. Plays on words and outrageous situations provide most of the laughs.
For fans of Shakespeare, I wholeheartedly endorse this great play. For beginners, I recommend starting with one of the plays mentioned above.
4 of 6 people found the following review helpful.
A fool and a wise man
By E. M. Van Court
But the man pretending to be wise is the fool and the apparent fool the wiseman, and the those who most ardently wish to appear wise are shown to be the fools they are. A king pursuing wisdom scorns the company of women for three years, but finds he must spend time in the company of a wise woman despite his oath. A wiseman who plays the fool shares the oath and suffers along with the fools, though understands the nature of men and women better than the one seeking wisdom. The lady in question is by turns astounded and offended. In the end, the ladies whose honor is offended return the favor to the fools who offended them.
The Bard was on his game when he wrote this. Without even reading the surviving historical documents, I will wager that this play was well received by Queen Elizabeth. Despite the relavence to Shakespeare's current events, the appreciation for human nature makes this as relevant and humorous today as 400 years ago. They don't write them like they used to (except when they plaguarize the Bard of Avalon).
E.M. Van Court
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