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1 giorno fa · The 2024 season includes As You Like It, London Assurance, Love’s Labour’s Lost and The French Lieutenant’s Woman; you can book tickets at www.minack.com. The Minack Theatre, Cornwall. Credit: Thomas Bradford / Getty Images
2 giorni fa · Footnote 33 Obviously, this links the play with the earlier Love’s Labour’s Lost, written in the mid-1590s and first published in a Quarto edition of 1598. Footnote 34 Both plays are set in exclusively male environments: Love’s Labour’s Lost in a cloistered academy, from which women are prohibited; Troilus and Cressida in the battlefields and encampments of the Trojan War.
4 giorni fa · The first quarto of Love’s Labour’s Lost (1598) presents itself as “Newly corrected and augmented,” implying perhaps that it, too, corrects an earlier, unauthorized version of the play, though none today is known to exist.
Love’s Labour’s Lost; King John; Richard II; Romeo and Juliet; A Midsummer Night’s Dream; The Merchant of Venice; 1-2 Henry IV; Merry Wives of Windsor; Much Ado About Nothing; Henry V; A few thoughts on the process thus far. Not surprisingly, the more that I read, the easier it gets.
1 giorno fa · One of the most elaborated examples occurs in Love’s Labour’s Lost, when Biron complains that the four wounded men have “caught […] the plague” from their respective women’s eyes. Footnote 26 One indeed can hear echoes of this logic in Lucrece itself, from the description of the “taint[ing]” (38) of Tarquin’s ears to the “enclose[ing]” of Lucrece’s form within “his ...
1 giorno fa · He may already, it is true, have adapted one or two tolerably successful historical plays, and, as Mr. Collier thinks, might have written The Comedy of Errors, Love's Labour's Lost, or The Two Gentlemen of Verona.
1 giorno fa · Looney believed that even very early works such as Love's Labour's Lost implied that he was already a person of "matured powers", in his forties or fifties, with wide experience of the world. Looney considered that Oxford's personality fitted the one he deduced from the plays, and he also identified characters in the plays as detailed portraits of Oxford's family and personal contacts.
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