Love S Labour S Lost Annotated

Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s, and first published in 1598.

Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s for a performance at the Inns of Court before Queen Elizabeth I.

Love’s Labour’s Lost is generally considered one of the few plays that Shakespeare created and did not mine other sources for inspiration. It is a comedy and a farce, and has a rather inconclusive ending. The action begins with the Ferdinand, the king of Navarre, and three of his lord/companions (Biron, Longueville, and Dumaine) taking an oath to devote themselves to study. They intend of taking off three years to do this – at the same time they were abstain from the company of women and other forms of excess. Ferdinand wants to make Navarre the academic capital of the world. He has forgotten, however, that the daughter of the King of France is about to visit, and soon she shows up. She tells Ferdinand that she will repay the loan that her father owes Navarre, but he indignantly protests that the French King is falling short on the amount he must pay Ferdinand. This annotated edition includes a biography and critical essay.

Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s, and first published in 1598.The play opens with the King of Navarre and three noble companions, Berowne, Dumaine, and Longaville, taking an oath to devote themselves to three years of study, promising not to give in to the company of women - Berowne somewhat more hesitantly than the others.

Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid 1590s for a performance at the Inns of Court before Queen Elizabeth I. It follows the King of Navarre and his three companions as they attempt to swear off the company of women for three years in order to focus on study and fasting. Their subsequent infatuation with the Princess of France and her ladies makes them forsworn. 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 rationalisation, and reality versus fantasy.

This anthology examines Love's Labours Lost from a variety of perspectives and through a wide range of materials. Selections discuss the play in terms of historical context, dating, and sources; character analysis; comic elements and verbal conceits; evidence of authorship; performance analysis; and feminist interpretations. Alongside theater reviews, production photographs, and critical commentary, the volume also includes essays written by practicing theater artists who have worked on the play. An index by name, literary work, and concept rounds out this valuable resource.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Edited and introduced by William C. Carroll, this edition of Love's Labour Lost features a lively account of the play's performance history from 1632 to the present day. Stage and screen productions of the late twentieth century receive particular attention and a range of international performances are also explored. New trends in the scholarly criticism are discussed in the introduction, as are the play's sources and historical contexts. Carroll's text is freshly edited from the First Quarto, published in 1598, and presents a highly readable modernised edition of Love's Labour Lost; a play known for its unorthodox ending and extraordinary use of language.