The Two Gentlemen of Verona Act 4, Scenes 3 and 4

251.

it's 4 am. i just turned in my final grad school project ever: a paper on the ever-baffling Gertrude Stein. and i still have my rehearsal notes to type up before i can go to bed. guess what that means? it means that i will finish this blog entry tomorrow! i will say, however, that this play continues to be super awesome. it is truly a pleasure to read it every day. until tomorrow...

The Two Gentlemen of Verona Act 4, Scenes 1 and 2

252.

today was my last day of coursework for grad school. i had my last class today. it was sort of perfectly full circle because my first class ever at UCF 2 years ago was with the glorious Dr. Julia Listengarten, and my last class today was with her as well. and she has been by far the single biggest influence on my education and creative growth for the past two years. by FAR. it was also perfect because my final project was a creative piece i've been evolving in my brain since November, which only began to grow physically because of my experience in Julia's class. and i got to buy two new wedding magazines with a gift card we got at our engagement party. and i got to take a nap. and i'm finishing up work on my research paper, which is the last thing i have to turn in. and now i'm going to eat celebratory DiGiorno and watch a movie for the first time since before the Academy Awards. so yeah, it was pretty much a crazy, perfect, sad, and beautiful day.

ANYWAY. this play is still awesome (making the day even better). let's do this.


act


i wrote this blog last night. it was a long one too. and i actually had a lot to say. and i postd it. and it went to an error page. although it said it was auto-saving as i went, when i tried to retrieve it, this is all that was left. i just don't have it in me to spend an hour re-typing it. give me a day to get over my frustration...

The Two Gentlemen of Verona Act 3, Scene 2

253.

hey everybody! i decided to do a short scene today since i have HUGE project to finish and rehearsal tonight for Writes of Spring. i know i've said it before, but i'm saying it again: this play is great! i'm telling you, if you are a teacher or know a teacher or work with teenagers at all in any way, i think this would be a great choice for them to study and/or perform. it's so accessible and fun, and it would be easy to find ways to link it to their life experiences. which is always a plus. i recommend it!


act 3, scene 2
the Duke and Thurio enter at the Duke's palace. Thurio is complaining that Sylvia will have nothing to do with him since Valentine's banishment. the Duke tells him that time will heal that situation and all will be well. Proteus enters, and echoes the same sentiment. the Duke asks Proteus for advice on how to match up Thurio and Sylvia. Proteus suggests that they slander Valentine. the Duke thinks that if he and Thurio slander him, it will just come across as them hating him. Proteus suggests that the slander be performed by a friend, and of course the Duke asks Proteus to do it. after a tiny bit of resistance, Proteus agrees. Proteus brings up the fact that even if they DO get Sylvia to dislike Valentine, that won't mean that she will love Thurio. Thurio asks Proteus to praise him as he slanders Valentine. the Duke grants Proteus access to Sylvia, thinking she will be happy to see Valentine's friend. Proteus tells Thurio that he needs to get his act together. (see quote below.) he needs to get romantic, read her love poems, bring musicians to her window. Thurio agrees to do all of this that night, and they all part ways to prepare.


Proteus is very tricky. i love how he lures the Duke into saying what he wants him to say next. for instance, he totally leads the Duke into asking him to slander Valentine. and he makes it seem like it was the Duke's idea when it was really his all along. the only thing i don't understand is later in the scene when he tells Thurio to approach Sylvia with sonnets and music. he's giving him pretty good advice, telling him to be more romantic. what's he playing at? is there some set-up there that i just can't see yet? he seems far too tricky to let Sylvia be in danger of actually falling for him. i guess we will have to see!

i really hope Sylvia doesn't about-face and decide she loves Thurio or Proteus. if she does that, she will be entirely too silly for me.

okay, this is really random, but let's talk about lime for a second because this is something i learned today. this is in the quote of the day below. according to the footnotes: 'birdlime, a sticky substance smeared on twigs to ensnare small birds.' WHAT. why would anyone want to ensnare a small bird?!?!?

quote of the day:
'as much as i can do, i will effect.
but you, Sir Thurio, are not sharp enough.
you must lay lime to tangle her desires
by wailful sonnets, whose composed rhymes
should be full-fraught with serviceable vows.'
   -Proteus

for tomorrow: act 4, scenes 1 and 2

-rebecca may

The Two Gentlemen of Verona Act 3, Scene 1 Lines 170-375

254.

two more finals down today. yay! i'm getting so close. it's at once exhilarating and completely freaking me out. all i have left is a project and a paper, and i am done with coursework at UCF forever and ever amen. what?!?!? when i turn in that paper on friday, i won't know what to do with myself. watch a movie? play a video game? read a book? any of the things i long to do on a daily basis but can't do because i have too much to do? SWEET.

and speaking of sweet, let's get to this play. because it is way awesome!


act 3, scene 1, part 2
Valentine is bemoaning his fate when Proteus and Lance enter. Proteus plays like he thinks he's breaking the news of Valentine's banishment to Valentine, but of course they both already know. Valentine asks after Sylvia, and Proteus reveals that she's been crying and begging for Valentine's pardon. she has been bothering her father so much that he sent her to prison and threatened to keep her there. Proteus tells Valentine not to freak out, but to get the heck out of there. Proteus says he will deliver letters between Sylvia and Valentine, and all will work out. Valentine asks Lance to send Speed after him when he sees him, and Proteus escorts him to the gate. alone, Lance admits to us that he is secretly in "love" with a milkmaid. Speed enters, and the two spend a considerable amount of time going over the maid's virtues and vices, to hilarious end. (see quote below.) finally, Lance reveals that Valentine has been waiting for Speed all this time. as Speed speeds off, Lance reveals that he detained him on purpose so Speed would get in trouble.


here's my favorite part about this scene: in the 17 lines of Valentine's monologue the Duke arrived home, talked to Sylvia, she cried and begged, he sent her away, and Proteus made it back to tell Valentine. riiight. i guess unity of time is completely out the window now.

and usually i hate these kind of random tangents like the milkmaid thing, but this side scene is so darn funny i can't even mind it being there. and you can totally follow it without ripping your hair out, unlike most of the tangent scenes i've read so far.

i am definitely seeing the theme of fickle friendship now. i mean, first Proteus and now Lance? why are they all so awful to each other? i'm interested to see how it ends up. with remorse? will they all become friends again? what's the deal. what's Shakespeare trying to say here?

quote of the day:
Speed: "item: she is slow in words."
Lance: o villain, that set this down among her vices! to be slow in words is a woman's only virtue. i pray thee, out with't, and place it for her chief virtue.
Speed: "item: she is proud."
Lance: out with that too. it was Eve's legacy, and cannot be ta'en from her.

for tomorrow: act 3, scene 2

-rebecca may

The Two Gentlemen of Verona Act 3, Scene 1, Lines 1-169

255.

it's officially finals week! ah! 4 more days until my coursework as a graduate student is officially OVER. crazy. oh yeah and we have rehearsal every night. ha! so forgive me if my blog entries are a bit brief. that being said, let's get to it, because this play is sooo good!


act 3, scene 1, part 1
Proteus tells the Duke that he has learned that Sylvia and Valentine plan to elope. he also makes the Duke believe that he would never normally rat out a friend, but he had to in order to help the Duke. Proteus goes on to tell him that they have devised a way for Valentine to get Sylvia out of the tower she is locked up in. that very night, Valentine will take a rope ladder to her window. Proteus sees Valentine coming and asks the Duke not to give him away, which the Duke agrees to. Valentine enters with a rope ladder hidden in his cloak. the Duke asks Valentine for some advice. the Duke tells him a story of heartbreak that sounds remarkably similar to Valentine and Sylvia's situation. Valentine, unaware of the trap that the Duke is setting for him, tells the Duke to do exactly what he has done with Sylvia. (see quote below.) finally, Valentine suggests that the Duke get a rope ladder, and that he hide it under a cloak. the Duke asks what kind of cloak. Valentine suggests something like the kind he is wearing. the Duke asks to try on Valentine's cloak, and he of course declines because his rope ladder is hidden under it. the Duke insists, revealing the ladder and a love note to Sylvia. the Duke reads the letter, and without letting Valentine speak up for himself, banishes him from Milan and leaves.


i thought Valentine was smarter than this. much much smarter than this. guess not. and man do i really hope that Proteus gets what's coming to him.

interesting how the Duke says, 'there is a lady in Verona here.' but they're not in Verona. they're in Milan. just sayin'.

the quote below makes me laugh. i feel like this theme comes up A LOT in Shakespeare: women say one thing, but mean another. we may not have seen it a lot before this, but i'm ready to see quite a bit of it in comedies to come. the funny thing is that so far, it's not that women DO say one thing and mean another, it's that that's what men THINK is going on.
quote of the day:
re: giving a woman presents
'a woman sometimes scorns what best contents her.
send her another. never give her o'er,
for scorn at first makes after-love the more.
if she do frown, 'tis not in hate of you,
but rather to beget more love in you.
if she do chide, 'tis not to have you gone,
forwhy the fools are mad if left alone.
take no repulse, whatever she doth say;
for "get you gone," she doth not mean "away!"
flatter and praise, commend, extol their graces;
though ne'er so black, say they have angels' faces.
that man that hath a tongue, i say, is no man
if with his tongue he cannot win a woman.'
   -Valentine

WOW.

for tomorrow: the rest of the scene, and perhaps act 3, scene 2!

-rebecca may

The Two Gentlemen of Verona Act 2, Scenes 5-7

256.

HAPPY EASTER! AND HAPPY SHAKESPEARE'S BIRTHWEEK! WOO!

ah! this play is so good! someone PLEASE explain to me why this play isn't done more often! it's fun and funny and you can read it without ripping your hair out because you have to check the footnotes every five minutes. i need to understand what the problem is here. some Hollywood people should make a modern version of this a la She's the Man or 10 Things I Hate About You. just sayin. if i was a screenwriter, i'd be all over this.


act 2, scene 5
Speed meets with Lance (and his dog Crab) on the streets of Milan. Speed welcomes Lance, but Lance says that there is no welcome til a man is welcomed at a tavern. Speed asks after Proteus and Julia, but Lance gives him the runaround on answers. Speed than asks Lance what he thinks of Valentine becoming a lover. again, Lance gives Speed indirect answers. finally Speed gives up and asks Lance to go with him to an alehouse to celebrate his arrival.

act 2, scene 6
Proteus is in the Duke's palace trying to figure out what to do about his secret love for Sylvia. (see quote below.) he knows he will lose Valentine and Julia in the process of pursuing Sylvia, but he will find both Sylvia and himself. he decides that he is okay with Julia being all but dead to him and Valentine being his enemy, as long as he can have his heart's desire. to make it work, he decides to tell the Duke about Valentine's plans with Sylvia so the Duke will banish Valentine. with Valentine out of the picture, he can work on getting rid of Thurio too.

act 2, scene 7
Julia begs Lucetta to help her figure out what to do. she wants to find a way to go to Proteus in Milan. Lucetta advises her not to go, but Julia won't hear it. Julia is on fire to be with him again, and she doesn't care how far she has to travel to be with him. Julia asks Lucetta to help her disguise herself as a boy so that she can make the journey. she worries what this choice will do for her reputation, but Lucetta tells her it won't matter if Proteus welcomes her with open arms. Julia goes on and on about how wonderful Proteus is, and she and Lucetta leave to gather up everything she will need for the trip and to look like a boy.


here's a question: in scene 5, does Lance know what's going on between Proteus and Sylvia? is that why he won't give Speed any straight answers? or is he just like that?

does Lucetta know that something is going on with Proteus? or does she just assume that there's no way he will be true to her while he's gone? or what?

i'm so sad for Valentine! he didn't even want to be in love in the first place, but couldn't help falling in love with Sylvia. then he gives his best friend a glowing recommendation to the Duke so that he can be with him at court, and then his best friend stabs him in the back. if Sylvia falls in love with Proteus too, i don't know what i will do with myself. the only way this is okay is if Julia and Valentine fall in love. i guess we'll have to see!

quote of the day:
'to leave my Julia shall i be forsworn;
to love fair Sylvia shall i be forsworn;
to wrong my friend i shall be much forsworn.
and ev'n that power which gave me first my oath
provokes me to this threefold perjury.'
   -Proteus; act 2, scene 6

for tomorrow: act 3, scene 1, lines 1-187

-rebecca may

The Two Gentlemen of Verona Act 2, Scenes 3 and 4

257.

i have cue to cue today for Writes of Spring! ahhhhhhh! i have to go fast because i won't get out til 1am tonight, so let's jump right in.


act 2, scene 3
Lance, Proteus' servant enters with his dog, Crab. Lance is mad at Crab because everyone else was upset that he was leaving for Milan except Crab, who doesn't seem to care one bit. (see quote below.) Panthino enters, urging Lance to get the heck out of there before he misses the boat altogether. after some confusion and runaround, Lance finally goes.

act 2, scene 4
Valentine, Sylvia, Thurio, and Speed enter at the Duke's palace in Milan. Valentine and Thurio, another of Sylvia's suitors, are fighting a fierce battle of words over Sylvia. the Duke comes in, and reveals that Valentine's very best friend, Proteus, has been sent to the palace to spend some time there in their service. he has gotten a very good recommendation from other people, and Valentine adds to that. the Duke leaves and Proteus comes in. Proteus and Sylvia exchange a few witty words before Sylvia and Thurio leave to give Valentine and Proteus time to catch up. Valentine admits to Proteus that he too has been infected by love, and can't help but be totally and completely in love with Sylvia. Valentine tries to get Proteus to admit that she is the most beautiful woman in the world, but he won't do it. Proteus asks Valentine if Sylvia is in love with him, and Valentine tells him that she is. they are betrothed! Valentine asks Proteus to help him figure out what to do. Proteus promises he will be with him in a minute, and Valentine leaves. then Proteus admits to us that he has just fallen in love with Sylvia himself! he will try to get over it, but if he can't he will find a way to have her.


first question: would they have brought a real dog onstage back then? what do people do now?

second question: when Proteus enters in scene 4, is Sylvia flirting with him. i couldn't fully tell, but i thought maybe she was. that girl is crazy! and does she like Thurio too? does she enjoy them fighting over her? she strikes me as being that kind of girl.

oh yeah, and Proteus is a total JERK! who goes for their best friend's girl? i'll tell you who. jerks. i certainly hope he doesn't get her and that Julia leaves him. he's a liar and a cheat, and i don't like him one bit.

loving this play, hope you'll give it a try!

quote of the day:
'...[I] am going with Proteus to the Imperial's court. i think Crab, my dog, be the sourest-natured dog that lives. my mother weeping, my father wailing, my sister crying, our maid howling, our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur shed one tear. he is a stone, a very pebblestone, and has no more pity in him than a dog.'
   -Lance; act 2, scene 3

for tomorrow: act 2, scenes 5-7

-rebecca may

The Two Gentleman of Verona Act 2, Scenes 1 and 2

258.

what a day! first of all, i had a day of from rehearsal for a little artistic brain rest. that's good. it was Earth Day! yay! so we got to learn about all the pertinent programs on campus so i can get more involved in the green way of life. AND we got to make tie dyed shirts, eat hummus and veggies, and pot a plant to take home- all for free! then i had the last day of one of my classes wahoo! and THEN i got to go to Tenabrae with Sean and see my mama! i might have a sunburn, but it was basically a super stellar day. and then i got to read a couple more scenes that were really enjoyable! lucky me? i think so.


act 2, scene 1
Speed and Valentine are hanging out in Milan, and Speed is poking fun at Valentine about Sylvia. even though Valentine railed against Proteus for being in love with Julia, Valentine has now fallen in love himself. Valentine asks Speed how he knows that he is in love with Sylvia, and Speed basically tells him that it's REALLY obvious. they argue the degree of her beauty (see quote below) and Valentine shares that the previous night he helped Sylvia wrote a love letter to her secret love. he has finished it to give to her, so she can send it to the one she loves. Sylvia enters and gives her the finished letter to deliver. he tries to get it out of her who it's for, but she won't tell. she gives him back the letter because she perceives that he wrote it 'unwillingly'. he is confused, and she gives him the runaround about why he should keep the letter. when she exits, Speed explains to Valentine that it was all a very clever trick: Sylvia wanted to write a love letter to Valentine, so got him to write it himself and deliver it to himself.

act 2, scene 2
Proteus and Julia are saying their final goodbyes back in Verona before he sails for Milan. he promises to return to her, and they exchange rings to seal the deal. she also gives him a kiss. wahoo. he tells her he must go because his father is waiting for him and he doesn't want to see her cry because it will take even longer to leave. she leaves without a word, and Proteus heads to Milan.


this play is so fun and clever. why isn't it produced more? i can't figure it out. it seems pretty darn accessible too. i could see teenagers being into this one. fickle and confusing love? come on, that's teenageville right there. of course, i've only read the first act and a half, so maybe i should hold my commentary, but so far so good. funfunfun!

oh i LOVE that little business between Valentine and Sylvia! so cute. now why didn't I ever think of that?

what's the deal with Julia walking away from Proteus without even saying anything to him? was she overcome with emotion? angry at him for being such a pansy? what is it? i am also unclear as to why Proteus feels he must hide his love from his father. did i miss something there? and a kiss! woohoo. risque!

quote of the day:
Speed: if you love her, you cannot see her.
Valentine: why?
Speed: because Love is blind. o, that you had mine eyes, or your own eyes had the lights they were wont to have when you chid at Sir Proteus for going ungartered!
   -act 2, scene 1

for tomorrow: act 2, scenes 3 and 4

-rebecca may

The Two Gentlemen of Verona Act 1, Scene 2 and 3

259.

well, the good news is that i like this play. it's fun! other good news: Sean loves me, it's only 2 1/2 weks til our 3rd anniversary, in one week i will be done with the term, and tomorrow is Earth Day! in not so good news: i'm having some artistic frustration, i have much more than a week's worth of work to do in the next week, i had a wicked pressure-filled day, i have NO money, and i only got an hour's sleep last night. i'm not trying to complain. i'm just trying to explain why i'm going to write the rest of this blog entry tomorrow morning. don't judge me!


act 1, scene 2
Julia asks her waiting-woman for some advice on love, and to tell her who she thinks is Julia's worthiest suitor. they go through each of the men who are interested in her, stopping at Proteus, when Lucetta has a particularly strong reaction to his name. Lucetta tells Julia that if she thinks Proteus' love is true, she should go for him. Julia doubts his love, but Lucetta backs him up. (see quote below.) Lucetta gives Julia Proteus' letter. apparently she actually intercepted Speed on his way to Julia and took the letter for Julia. Julia gives the letter back to Lucetta, saying she doesn't want it. Lucetta leaves, and Julia regrets that she doesn't have the letter. Lucetta re-enters and the game of 'Julia pretending she doesn't care but she really does' ensues. eventually she rips up the letter. Lucetta leaves, and Julia regrets that she tore up the letter. she is VERY dramatic. Lucetta enters again to announce dinner, gathering the pieces.

act 1, scene 3
Antonio (Proteus' father) and his servant, Panthino, are talking about Proteus. PAnthino had been talking to Antonio's brother, who had  remarked that he was concerned that Proteus was staying home. he felt Proteus should be exploring the world or going to a university. Antonio agrees, but doesn't know what to do with him. Panthino suggests he send Proteus to Milan, where Valentine is. Antonio likes the idea, and the two of them make plans for Proteus to leave the next day. Proteus enters, reading a letter he has written to Julia. he hides the truth of what he is reading to his father, and Antonio insists that Proteus will leave the next day. Antonio and Panthino exit, and Proteus regrets that he wasn't honest with his father about the letter and his love for Julia.


quote of the day:
Julia: why, he of all the rest hath never moved me.
Lucetta: yet he of all the rest i think best loves thee.
Julia: his little speaking shows his love but small.
Lucetta: fire that's closest kept burns most of all.
   -act 1, scene 2

for tomorrow: act 2, scenes 1 and 2

-rebecca may

The Two Gentlemen of Verona Act 1, Scene 1

260.

good news! i am already enjoying this play! it's fun, funny, and clever. i already see some interesting characters, and the potential for a great plot line. SWEET. i'm hoping this develops into another great reading experience!


act 1, scene 1
Valentine and Proteus, 2 gentlemen, enter on a street in Verona. Valentine is poking fun at Proteus, saying he would invite Proteus to see 'the wonders of the world abroad' with him if Proteus weren't tied down by love. Proteus wishes him luck on his travels, and promises his friendship. before Valentine leaves, however, he has to poke fun at love some more. he tells Proteus that love is foolish. Proteus asks Valentine if he thinks he, Proteus, is a fool then. Valentine retorts that he fears he will become one. (see quote below.) Valentine is ready to head out on his trip to Milan, and the 2 men promise they will write each other letters. Valentine leaves and Proteus proclaims his love for Julia, who has caused him to neglect every other part of his life in pursuit of her love. Speed, a servant of Valentine's, enters looking for Valentine. Proteus asks Speed if he delivered his letter to Julia. Speed gives him a serious runaround, and won't tell him anything til he gets a tip. as soon as he does, Speed reveals that Julia's response was not positive. Speed runs off after Valentine, and Proteus resolves to find himself a better messenger.


i didn't really go into it in my summary, but there is some very witty dialogue happening between Speed and Proteus in this scene. SO CLEVER! if you are interested, check it out.

it's interesting that Valentine is taking a boat to Milan from Verona. isn't there land, and not sea, between Milan and Verona?

the names are intriguing. is Valentine supposed to remind us of love? Speed, having to do with his quick wit maybe? and Proteus... something from Greek mythology?

it's early on, so i don't have much to say yet. if you haven't read this one, pick it up! it's a fun read already.

quote of the day:
Proteus: 'tis love you cavil at. i am not Love.
Valentine: Love is your master, for he masters you;
and he that is so yoked by a fool
methinks should not be chronicled for wise.

for tomorrow: act 1, scenes 2 and 3

-rebecca may

The Two Gentlemen of Verona Intro Info

261.

new day new play! i'm excited about reading this one because i have had ZERO exposure to it before today. something fresh! wahoo! and it's the last one i get to read at a slow pace before crazy Summer of Shakespeare begins. ah!


here's what i learned about this one today:

-David Bevington calls this play the first of Shakespeare's 'romantic comedies'. Comedy of Errors is considered to be a farce of mistaken identity, and Love's Labor's Lost is more of a courtly comedy.
-this play also goes in the category of 'festive' comedies that include Twelfth Night and A Midsummer Night's Dream.
-this play is set in Italy, which is fitting because Shakespeare starts modeling some of his work based on writers from Italy and other Southern European countries.
-some devices and conventions to look out for: disguises, overhearing conversations, absurd situations and characters, plotting, paradox, and anticlimaxes.
-'the play continually reminds us of the folly of love without denying its exquisite joys or its highest potential for selflessness.' -Bevington, page 77


for tomorrow: act 1, scene 1!

-rebecca may

Sonnets 13-17

262.

we are back to sonnets today! yes, we are still on the same theme: you are so beautiful, you must have babies so your beauty can live on. today, however, i was able to appreciate these poems in a way i wasn't able to with the previous sets. perhaps the change came from the fact that i have different expectations. i kind of know what to expect now. whatever the case, i enjoyed them a lot more this time. that being said, i am pleased that, according to the introduction in my book, we will be transitioning out of this theme with the next set of poems. wahoo. let me give a quick overview before we continue.


13- prepare against the death of your beauty. who would let 'so fair a house' fall to ruin without preparing for it?
14- i dont derive my knowledge from the stars, but from your eyes. and from your eyes i know that truth and beauty will live forever if you pass them on to a child.
15- life is so short. as time and decay take you away, i make you new by writing about you.
16- but why dont you renew yourself in a way that is stronger than my little poem? you must have a child to live.
17- who will believe my poems? no one will. but if you have children, the evidence of your beauty will live in them and in my writing.


i loved sonnet 17. for me, it made everything so much more clear. it also felt like it was driven from a place of love and respect, whereas some of the others just feel really creepy to me. check this one out. it's lovely.

this theme feels like a very strange one. i realize that that is probably because in our time it's not common. sure, we talk about children all the time, but not quite like this. how many times have you read or seen something where the main theme was a man urging another man to get married and have children so that his beauty will live forever? for me, the answer is never. but was this a little more common then? how was this perceived?

quote of the day:
'then the conceit of this inconstant stay
sets you most rich in youth before my sight,
where wasteful Time debateth with Decay
to change your day of youth to sullied night;
and, all in war with Time for love of you,
as he takes from you i engraft you new.'
-sonnet 15

for tomorrow: intro info for 2 Gentlemen of Verona!

7 plays, 4 poems, 17 sonnets down. 31 plays, 1 poem, 137 sonnets to go! it's almost time to kick things into summer mode, which is to say, reading a lot more! ah!

-Rebecca may

Love's Labor's Lost Act 5, Scene 2, Lines 712-END!

263.

the end the endtheenddd!!! yay. time to move on, hopefully to plays i will enjoy more than this. i am still waiting for someone to defend this one to me. i am willing to hear it! speak now if you have some glorious revelation or strong opinion to share! alright, let's finish this!


act 5, scene 2 part...5?
during the festivities, a messenger enters with bad news: the Princess' father has died. Berowne calls off the play and the Princess announces that she will leave that night for home. the King begs her to stay, but she will not. the King finally convinces her that they have had sincere intentions all along. the Princess reveals that they had considered the whole thing a jest, and treated it as such. the Princess tells the King that she will not entertain his love until he spends a year as a hermit, with no women and festivities. he agrees. the Lords also agree in turn, and offer to take them home. (see quote below.) Armado enters, revealing that he has decided to man up and take care of Jaquenetta. the play ends with a song of spring and a song of winter.


well! the ending was just as surprising to me as the rest of the play. everything wrapped up so quickly! and the very end was quite strange. and, although i predicted they wouldn't all end up together at the end, i was still surprised when it actually happened. i was happy though that it seems like Armado and Jaquenetta end up together. i mean, he's going to farm for 3 years, but they're together, right? if not, don't tell me!

i've decided that i don't think the girls were just playing hard to get the whole time. based on what i read in this scene, i feel like they thought the men weren't being serious about loving them. they thought the guys were just messing around, so they decided to mess around right back. i think their surprise was sincere when the King proclaimed that they had been sincere all along. that's why they need them to prove that they are serious with the one year oath. they need to know the men are legit. smart girls!

so what do you think about the four pairs of lovers? do the guys make it through the year? will they end up together?  could these fickle lovers ever make it that long? the last word of the title IS 'lost'. i think there's no way they will make it. what do you think?

quote of the day:
Berowne: our wooing doth not end like an old play;
                Jack hath not Jill. these ladies' courtesy
                might well have made our sport a comedy.
King: come, sir, it wants a twelvemonth and a day,
         and then 'twill end.
Berowne: that's too long for a play.

HA.

for tomorrow: sonnets 12-17!

-rebecca may

What's Next on My Shakespearean Adventure!

here's what's coming up next!

Monday:
SONNETS 12-17

and then...

TWO GENTLEMEN OF VERONA

i would love to have you read along and discuss with me!

-rebecca may

Love's Labor's Lost Act 5, Scene 2, Lines 485-711

264.

almost finished! almost finished! almost finisheddddddd! only one section left after this! i have to say, i am dying to see how this all turns out, because i can't see how this can wrap up in the short section that's left. it's nuts! i thought so much more would 'happen' in this section, but as you will see shortly, not much did. check it out.


act 5, scene 2, part 4
Costard enters and asks if they can begin the play. the King is nervous that the play will make them look even more foolish, but the play goes on anyway because the Princess desires it. Costard performs his part as Pompey, flubbing a little and getting a lot of flack for it. (see quote below.) Nathaniel and Holofernes enter to perform their parts and get even worse heckling. Holofernes in particular is very upset with the way he is treated. finally, Armado enters to perform and gets the worst verbal beating of all. poor guy. we then learn that Jaquenetta is pregnant and unmarried! doomed! and supposedly it's Armado's? Armado and Costard are about to duel, but Armado wimps out last minute.


so... IS Jaquenetta's baby Armado's? or is it Costard's? i need to know!

holy guacamole. this play is so crazy. i feel like the plot zooms along for a few pages, then stops dead in its tracks, then zooms, then stops. just when i feel i've got a handle on it, some weird thing happens. like a play-within-a-play for instance. say whaaat? we have things to wrap up here, mr. Shakespeare! i need to know what is going down with Rosaline and Berowne!

this play reminds me of high school. there's cliques. in this play, there's the King and his Lords, the Princess and her Ladies, and Nathaniel and Holofernes. there's Armado and Costard too, but they're like the nerdy kids who just want to be friends with everyone, but they all hate them. and basically the cliques are filled with people that may seem charming and fun, but can be so extremely mean and awful. so much of this play is one group complaining about or being rude to or making fun of another group. it's insane. this is one of those plays that should be adapted into a teen movie, a la 10 Things I Hate About You or She's the Man. speaking of which... what a good excuse to watch those movies when i read the plays they are based on. sweeet.

quote of the day:
Costard: 'tis not so much worth; but i hope i was perfect. i made a little fault in "Great."
Berowne: my hat to a halfpenny Pompey proves the best Worthy.

for tomorrow: the rest of the play

-rebecca may

Love's Labor's Lost Act 5, Scene 2, Lines 310-484

265.

okay Shakespeare! the play picked up some today! thank goodness. it feels like all of the plot is happening in this scene. i will try to keep it succinct, but so much happened! let's get to it.


act 5, scene 2 Part 3
the King and Lords enter looking for the Princess and Ladies. Boyet gives them sass, but he goes to get them. when they enter, the men try so hard to be nice, but the girls just aren't having it. no matter what they say, the girls twist their words around and around. the King tells them that they are there to take them back to court, but the Princess responds that she doesn't want to make perjurers of them. the King apologizes that they were left all alone out there, and the Princess replies that they weren't alone. they were visited by a bunch of Russians. they girls jerk the guys around a little more before they ask the men which mask they were wearing. the King finally figures out that they've been caught, so he and the Lords decide to be honest. the girls make fun of them some more (see quote below). Berowne asks them to cut it out before they stop seeking their attention. they don't let it go of course, and Berowne gives up trying to talk to them. the Princess says that if they broke a promise once (their original oath to the King), they could break their promise to her and her Ladies. the men swear they would never, but the Ladies reveal that they had disguised themselves earlier, so the men whispered their promises to the wrong person. so technically, the men already lied to them. Berowne is extremely frustrated with the Ladies and seriously ticked off at Boyet for taking their side.


okay. what the heck is going on? what are the Princess and Ladies trying to accomplish? do they want to push the King and Lords so far that they give up on them? because that's what it's looking like. i've been assuming that all kinds of happily ever after would be occurring at the end of this play, but now i'm not completely sure. if i were those guys, i would ditch them for sure! they are playing games. HARD CORE. do the girls really think they're jerks, or are they just jaded and defensive? hm...

quote of the day:
'help, hold his brows! he'll swoon! why look you pale?
seasick, i think, coming from Muscovy.'
   -Rosaline

for tomorrow: through line 711

-rebecca may

Love's Labor's Lost Act 5, Scene 2, Lines 176-310

266.

well, i didn't get as much read today as i wanted because the dance concert opened tonight so things were a little busy! i also got the chance to read Veronica's Room, which i will be assistant directing this summer with the wonderful Julia Listengarten. it's going to be tons of fun! AND i turned in my first directing reel. EEP! anyway, i didn't get as much read as i wanted, but i did read a decent amount, so i'm not going to beat myself up about it. right? right!


act 5, scene 3 part 2
Rosaline, pretending to be the Princess, asks Boyet to ask the 'strangers' (aka the King and Lords) what they are doing there. they answer that they have good intentions and have travelled a long way to visit them, to which Rosaline responds with wit and quips right and left. music plays, and they try to get the Princess and Ladies to dance, but they refuse. she offers her hand, he thinks to dance, but she says it is so they may part as friends. the King finally convinces Rosaline, disguised as the Princess, to step aside and talk to him. Berowne does the same to the Princess, disguised as Rosaline, and so on for the next 2 couples. as soon as they are all privately talking, Rosaline calls the ladies off and tells the men to leave. they do, and the women unmask themselves. they pick fun at the men until Boyet informs them that the men are on their way back out of their disguises. Rosaline suggests that they continue to play a game with them (see quote below), and the men re-enter.


the repetition is no longer fun for me. earlier in the play, when the Lords were confessing their love one by one and then hiding, not knowing that the others had come before them and done the exact same thing? now that was funny. i loved it. this time, i'm just like- alright already, let's move on with it! we keep seeing the same thing over and over again. we always have to go through all four people (or couples) one by one. and they all do almost the exact same thing. was this a common device during that time period? it sure isn't now. maybe it's just what i'm used to, but i am really struggling to stay engaged.

holy Beatrice, Batman! Rosaline is SO the seed for Beatrice right now. i kind of feel like Beatrice came out of the Princess and Rosaline. it's just making me wish i was reading Much Ado About Nothing instead of this! i'm still waiting for someone to defend this play, because i would love to know what i'm missing! but so far, everyone i've talked to on the blog, facebook, and in real life feels kind of the same way i do. so if you like this one, please let me know how and why!

quote of the day:
'good madam, if by me you'll be advised,
let's mock them still, as well known as disguised.
let us complain to them what fools were here,
disguised like Muscovites in shapeless gear,
and wonder what they were, and to what end
their shallow shows and prologue vilely penned,
and their rough carriage so ridiculous,
should be presented at our tent to us.'
   -Rosaline

for tomorrow: as much as i can! i need to wrap this thing up!

-rebecca may

Love's Labor's Lost Act 5, Scene 2, Lines 1-175

267.

crazy days are here! i have to direct for 3 hours tonight, then there's dress rehearsal for dance concert, then i have to edit my directing reel, read for Avant-Garde class and finish this blog! ah! the next 2 weeks are going to be crazy, but then it's summertime!!! and i can push forward with my reading. let's face it, i've been going so slow this term. summer will be all kinds of Shakespeare madness! wahoo! alright, let's get to it.


act 5, scene 2 part 1
the Princess and her Ladies enter, bragging about all of the gifts they've received from the King and the Lords. the Princess received a jeweled brooch and a page crammed full of love poems. a lot of banter occurs between them, during which they poke fun at each other and the Lords. they all show what they've been given, and all have love letters too. after Maria shows the little pearl necklace and long letter she received, the Princess asks her if she wouldn't rather have a long necklace and a short letter. Boyet enters, laughing at the sights he has just seen. he witnessed the King and Lords planning to approach the girls in disguise. they've planned a masked party of sorts, and will woo the girls in their disguises. the Princess decides they should mess with the Lords. (see quote below.) she has all of the girls switch presents and wear them very obviously so the Lords will be confused about who is who. they put on their masks as the King and his whole posse enter. Mote attempts to give an introductory speech for them, but fails miserably and is sent away.


did Mote purposely screw up his speech? i'm not sure.

this is feeling mighty Much Ado About Nothing to me! masked ball? mistaken identities? tomfoolery? it looks like we're headed in that direction!

um i kinda love the Princess. she is super sassy and unruly. love it! i feel like she's kind of jaded too (reminds me a bit of Beatrice in Much Ado) so i i'm hoping this whole love thing works out for her! not, however, in love with Boyet. what's his deal? why is he such a jerk? is he just trying to get in good with the ladies? there's actually a lot of jerky characters in this play. Nathaniel and Holofernes are the jerkiest. Mote can be a jerk too, but i like him. Boyet needs to take a chill pill. he's never going to have any of those girls! fact. get over it, Boyet!

quote of the day:
'the effect of my intent is to cross theirs.
they do it but in mockery merriment,
and mock for mock is only my intent.
their several counsels they unbosom shall
to loves mistook, and so be mocked withal
upon the next occasion that we meet,
with visages displayed, to talk and greet.'
   -Princess; act 5, scene 2

for tomorrow: lines 176-391

-rebecca may

Love's Labor's Lost Act 5, Scene 1

268.

just when things were starting to look good, this scene involves the teacher and the cleric. yay. my favorites. (she said sarcastically) but this time i think i understood them a little better and was able to enjoy this scene more than their last. check it out:


act 5, scene 1
Holofernes and Nathaniel enter the park, complaining about Armado. Dull is with them, but says nothing. Holofernes and Nathaniel think that Armado is ridiculous and annoying. they make fun of his misuse and mispronunciation (as they see it anyway) of words and talk in random languages. Armado enters with Mote and Costard. Mote and Costard slyly poke fun at Nathaniel and Holofernes. (see quote below.) Armado tries to talk to N and H, but they just act rudely and try to confuse him. finally Armado tells them that the King wants to greet the Princess with some entertainment. he asks Nathaniel and Holofernes to help. they jump on board, and Holofernes suggests the Nine Worthies. they split up parts, or try to, with Holofernes claiming 3 for himself. they continue to plan as they exit, noticing for the first time that Dull hasn't spoken this whole time.


so it's not that i like Nathaniel and Holofernes, it's that i think i understand them a little better. here's what i think: they are these two really stuck-up guys who think they're really super awesome. they are kind of mean and rude. they love to show off by speaking in other languages and pretending that they know a lot. it's interesting because to me it seems like Armado is the same way, but he's not mean. because of that, Armado is likable to me. and Nathaniel and Holofernes make fun of Armado to make themselves look cool, but really they make themselves look like jerks. Armado look like the victim. i don't know if that was the intention, but that's how it's coming across to me. what do you think?

help from the footnotes: the Nine Worthies would have been totally familiar to Shakespeare's audience from 'poems, pageants, and tapestries'. they included such figures as Alexander the Great, Julius Caesar, David, Arthur, and Charlemagne. apparently using Hercules and Pompey was unusual. did he use them to show how foolish these guys really are? i'm not sure. what do you think?

quote of the day:
Mote: They have been at a great feast of languages and stolen the scraps.
Costard: O, they have lived long on the alms basket of words. I marvel they master hath not eaten thee for a word, for thou art not so long by the head as honorificabilitudinitatibus. Thou art easier swallowed than a flapdragon.

HAHAHAHA

for tomorrow: act 5, scene 2 AKA the longest scene of all time lines 1-175

-rebecca may

Love's Labor's Lost Act 4, Scene 3 Part 2

269.

well well well. i got through this whole scene and pretty much understood everything. no passages filled with outdated references or plays on words so intricate i couldn't follow. it was awesome. and the play moved forward. it was a nice breath after being so frustrated for the past week! good times. let's go!


act 4, scene 3 part 2
Dumaine was just saying that he wished the other Lords and King were in love too so he wouldn't be alone when Longaville reveals himself to condemn Dumaine. the King reveals HIMself to say that Longaville is full of it and he is condemning them both. and then, of course, Berowne reveals himself to come down on all of them. he's really rubbing it in when Jaquenetta and Costard enter with Berowne's letter. Berowne tries to rip it up, but to no avail. Dumaine gathers the pieces, and the full truth is finally revealed. Berowne's excuse is: who wouldn't love Rosaline? and then they fight over whether she's the most wonderful or not. the King asks Berowne what they should do and he basically tells them that the study of love is the best there is and they should go for it. they resolve to follow their hearts and win the girls!


my main question is: why does the King ask Berowne? isn't he the King?

i am dying to see this scene played out when Berowne calls out the King and then gets called out himself! ahahaha! stellar!

i have 2 rehearsals tonight so i have to wrap this up! im really hoping the last act was as much fun as this one!

quote of the day:
'never durst poet touch a pen to writ
until his ink were tempered with Love's sighs.'
-Berowne; act 4, scene 3

for tomorrow: act 5, scene 1

-rebecca

Love's Labor's Lost Act 4, Scene 3 Part 1

270.

now here's a scene i can at least sort of get behind! i mean, it's a little predictable, but there can be a lot of fun and humor in that. at least i could understand what was going on! so here it is:


act 4, scene 3 part 1
Berowne is in the park with a paper in his hand. he is completely love sick, wandering about aimlessly, feeling mad with love. (see quote below.) he sees the King entering, and hides from him. the King reveals that he too is lovesick, and reads a love poem he has for... (i assume the Princess?) he wonders how he can reveal his love to her when he sees Longaville entering, and hides from him. Longaville comes in moaning about his love for Maria. he feels shame and grief, and rips up the poem he is working on. he proceeds to take out and read another poem he has written for her, but then sees Dumaine entering and hides from him. Dumaine enters proclaiming Kate's beauty and wishing he could forget her. the other men agree from their hiding places. Dumaine reads his own poem, and decides to send it to Kate. if only the King and the others could be in love too! 'for none offend where all alike do dote!'


i can totally see this scene being hiLARious, with all of them in different hiding places about the stage. the predictability of the last character entering almost makes it more funny.

were Shakespeare's poems that he wrote for plays ever published elsewhere too? like was there a book of Shakespeare's poems from plays? did he put them into the plays because he was more seriously interested in being a sonneteer than a playwright? was he trying to show off his poetry skills, and used the play as a vehicle? and what came first, the play or the poems? now that i've seen how much poetry is in this, it all makes a little more sense to me. he's still pretty new to playwriting, his focus is on poetry... makes sense.

for the record, people kept telling me how awful Titus Andronicus is, but i'd pick that play over this one any day! in fact, of the 7 i've read so far, Titus would be pretty high up there. my favorite so far? Richard III. hands down! SO GOOD. then Henry 6-3, Titus, Henry 6-2, Henry 6-1, Comedy of Errors, Love's Labor's.

quote of the day:
'by heaven, i do love, and it hath taught me to rhyme and to be melancholy.'
   -Berowne; act 4, scene 3

for tomorrow: the rest of this scene!

-rebecca may

Love's Labor's Lost Act 4, Scene 2

271.

oh boy oh boy oh boy. this scene. i don't even want to say anything. i'm just going to give you the synopsis. here we go.


act 4, scene 2
Dull, Holofernes (a teacher), and Nathaniel (a cleric) enter Navarre's park. they fight over whether the deer that was killed was an old doe, a buck in its first year, or a buck in its second year. Dull is confused by the language, and Nathaniel explains that he didn't have the luxury of education. (see quote below.) they tell riddles and continue to argue about the deer. then there's a big section i don't understand at all. (lines 52-79) Jaquenetta and Costard enter. she asks Holofernes to read the letter given to her by Costard from Armado. some talk happens in between with a lot of dropping of other languages. Nathaniel reads the letter, which is a love poem to Rosaline from Berowne. it takes a lot of talking to work it out, but they realize that the letters were mixed up and that Berowne has majorly broken some rules by writing it. they give Jaquenetta the letter to take to the king in order to snitch on Berowne. Costard, of course, goes with her, and Nathaniel and Holofernes continue to argue about... i'm not sure what.


in case you didn't catch it, i wasn't a big fan of this scene. it's not until about 2/3 into the scene that something finally happened that i could fully understand. (Jaquenetta's entrance.) i feel like there's NO WAY this scene can be performed without being cut. please prove me wrong if you can! there's so much in this scene that is in another language or based on outdated references. it was almost un-followable for me. and i had the footnotes. i can't imagine the average person would have any clue. even with great actors. if it were me, i'd just do the section with Jaquenetta. it's act 4! 2 new characters?!?!? that don't make any sense?!? that aren't even relevant to the story! i can't deal. i'm not trying to be negative, i'm just being honest with how i feel. if anyone wants to shed some light on this scene, by all means...

this play is like Shrek for me. i don't like that movie. (i know. i'm the only one.) i feel like the humor in Shrek is really of our time. (Shrek 1 is even starting to feel slightly outdated to me.) in 25 years, that humor will feel so dated. that's how i feel about this play. it is SO of it's time that it's hard to enjoy now. i'm more of a Toy Story/Much Ado About Nothing fan. funny forever.

i also feel it might have something to do with the fact that Shakespeare was still so young at this time. he was trying to imitate others' writing styles. and he just isn't him yet. right?

quote of the day:
'sir, he hath never fed of the dainties that are bred in a book,
he hath not eat paper, as it were; he hath not drunk
ink. his intellect is not replenished. he is only an animal, only sensible in the duller parts;
and such barren plants are set before us that we thankful should be--
which we of taste and feeling are-- for those parts that do fructify in us more than he.'
   -Nathaniel; act 4, scene 2

for tomorrow: act 4, scene 3- it's long, so i will get as far as i can!

-rebecca may

Love's Labor's Lost Act 4, Scene 1

272.

hello there Shakespeare readers! i finally met Sean's step brother! we went to Old Town and spent some time with him and it was pretty great. i wasn't able to post the whole blog before we went, so here is the continuation!


act 4, scene 1
the princess, her Ladies, Boyet, and a forester are out in a park outside of Navarre. the hunt is on! the princess feels certain that her father's name will be cleared in a couple of days, and she will return to France. she is getting ready to hunt a deer when Costard enters. (see quote below.) Costard tells her he has a letter for Rosaline from Berowne, but gives her the one to Jaquenetta from Armado. the princess gives it to Boyet to read aloud, and they proceed to make fun of it and Armado. a really funny exchange happens between the princess and Costard, and the princess finally leaves, telling Rosaline not to be too upset that she didn't get her letter. then Boyet starts hitting on Rosaline, saying that if she marries Berowne she will surely make a cuckold of him. she shuts him down and leaves. then he starts hitting on Maria! and telling her she's loose! after they leave, Costard proclaims his need to deliver Armado's letter to Jaquenetta, which of course is actually Berowne's letter to Rosaline.

i was pleasantly surprised by this scene. i giggled a few times and genuinely enjoyed it. thank goodness! i think it was easier to follow and something actually happened so... that probably had a lot to do with it.

i feel like the princess is Regina George from Mean Girls or something. having them open the letter even though it's not for them? reading it aloud? making fun of it? GEEZ. and Boyet is super rude and pushy. he's pretty much a mean girl too.

i read this in the footnotes and found it interesting... Boyet calls Armado a 'Monarcho', which means 'an eccentric Italian at the Elizabethan court who fancied himself the emperor of the world.' fun and random. of course, i would never ever know that if i didn't have the footnotes in front of me. but i loved that little joke.

i wish i had more to say and more questions to pose, but this play hasn't really brought up a lot for me. i can't force it!

quote of the day:
Costard: 'God-i-good-e'en all! pray you, which is the head lady?'
Princess: 'thou shalt know her, fellow, by the rest that have no heads.'

hahaha i know that's silly. but it's hilarious!

for tomorrow: act 4, scene 2

-rebecca may

Love's Labor's Lost Act 3, Scene 1 Continued

273.

well, I was going to re-read act 3, scene 1 today and then read act 4, scene 1 but... just re-reading turned out to be work enough so i am just going to focus on that today. it was a lot more clear this time, but i still feel that i am struggling a bit.

here's what i got out of this scene:
Armado wants to win the love with Jaquenetta, and in talking about it with Mote, both become confused and run word circles around each other. Armado confesses that he is in love with her and out of sorts because he can't have her (see yesterday's quote), and wants Costard to deliver a message to her for him. Mote goes to get Costard and reappears 2.5 seconds later with him. Costard doesn't understand what the heck Armado is talking about, which launches Mote and Armado into another long string of wordplay. eventually, it comes out that Armado wants Costard to deliver a letter. he gives him money ("remuneration") as payment for his trouble, which Costard is very excited by. Costard thinks that that amount of money is called 'remuneration' and is talking to himself about learning this new word when Berowne enters. Berowne wants Costard to deliver a letter to Rosaline for him, and also pays him to do so. so now Costard has been paid to deliver two different messages to two different people in the same afternoon. he goes, and Berowne bemoans his present condition: that of a man plagued with love sickness.

better, right? sometimes i kinda get the hang of it.

here's the thing... i want to get the most i can out of this experience, but i don't think i am right now. i want to comprehend, enjoy, and appreciate each to play as much and as far as possible. this one has got my head spinning. i would appreciate any insight, thoughts, comments, experience, etc. that could help me or anyone else struggling with this play. when it's a little wordplay infused into the scene i am there with it, but when the play goes off on page or pages-long tangents, i am totally lost.

so... anyone...?

for tomorrow: act 4, scene 1

-rebecca may

Love's Labor's Lost Act 3, Scene 1

274.

i haven't slept in dayyyyssssssss. but i AM going to sleep tonight. and that is all i have to say about that.


act 3, scene 1
so i read this scene and was pretty lost. i understand that Armado is in love and Mote is jerking him around a lot but i am getting lost in all the wordplay. i am going to try to read it again tomorrow and see if it is more clear. if so, i will update here.


does ANYONE have insight to share? help me! i am struggling with this one. i wouldn't have expected that with this comedy, but it is not easy to follow! words words words. i can't seem to have fun with it.

quote of the day:
'..."by" heart you love her, because your heart cannot come by her; "in" heart you love her because your heart is in love with her; and "out" of heart you love her, being out of heart that you cannot enjoy her.'
   -Mote; act 3, scene 1

for tomorrow: re-read this scene and act 4, scene 1

-rebecca may

Love's Labor's Lost Act 2, Scene 1 - Part 2

275.

it's another great day in Shakespeare land! i am very proud of myself for getting this finished already on top of class, coaching, and solidifying my thesis committee! wahoo! productive day! now i just need to get through the rest of class, one more coaching session, rehearsal, and writing a paper, and it will be time for sleep! mmm... sleep...


i was able to get through the rest of the scene with little trouble. so here it is, the end of act 2, scene 1:

Berowne and Rosaline flirt. it's pretty sassy. Dumaine asks Boyet about Katharine, Longaville asks Boyet about Maria, and Berowne asks Boyet about Rosaline. Berowne is quite the joker they say. Boyet tries to put the moves on Katharine, but she of course is not having it at all. (see quote below.) then Boyet drops the bomb: he tells the princess that he believes the king is in love with her. the princess is in disbelief. Boyet continues to try to be a smooth-talker, but the ladies shut him down and leave him in the dust.


and that's basically it!

oh poor annoying Boyet. does he play as annoying as he reads? but like... enjoyably annoying? i would love to know!

it is hard for me to distinguish differences in character between the group of Lords and the group of Ladies. i feel like Berowne and Rosaline stick out because they're sassy and funny, but the others are not clear to me now. are they just like that, or is it hard to tell just from reading it? anyone care to share some insight on these Lords and Ladies?

quote of the day:
Boyet: 'and wherefore not ships?
no sheep, sweet lamb, unless we feed on your lips.'
Katharine: 'you sheep, and i pasture. shall that finish the jest?'

for tomorrow: act 3!

thanks for reading!

-rebecca may

Love's Labor's Lost Act 2, Scene 1

276.

i just made my to-do list for the next 4 weeks. and i'm freaking out! 4 weeks until summer. i can do this i can dothisicandothis! in 4 weeks i will be FREE! ah! free to scout wedding locations. free to swim. free to read. free to play video games. free to travel. free to spend time with my amazing fiance and wonderful family and lovely friends! (sigh) i can do this. and somehow fit Shakespeare in there too. phew!


i couldn't even get through the whole scene! so... there goes my reading schedule, and here goes the first half of the scene:

act 2, scene 1
the Princess of France enters with her 3 Ladies (Rosaline, Maria, and Katherine), and 3 Lords (including Boyet). Boyet is swooning over the princess, and she shoots him down. (see quote below.) she sends him to talk to the king to find out what the heck is going on with this 3-year vow, and why she can't be admitted onto castle grounds. he goes happily, and the princess asks her ladies about the other men in the king's court. Maria speaks of Longaville, Katharine of Dumaine, and Rosaline of Berowne. they go on and on about them, and the princess can't believe there's so much praise being thrown around. Boyet and the king come back with his lords. the princess gives the king a letter from her father, and while he reads it, Rosaline and Berowne do a bit of flirting. the king is not too happy with the letter. apparently the King of France owed our king some money from a past war. he says he paid half of it, but our king says that that isn't true, and he therefore temporarily owns part of Aquitaine. he will be glad to give it up once the sum is paid. the princess protests that half of the money WAS paid and they will prove it. Boyet sets out to get the proof, and meanwhile the princess and her ladies are welcome to stay on the grounds outside of the castle.


i feel like i can tell you right now exactly what's going to happen. they're all going to end up with those guys they talked about, and the King of Navarre will end up with the Princess of France. bad guess? good guess? and everything in between will just be folly. tell me it's not true!

so Rosaline and Berowne have kind of a love/hate thing going? am i reading that wrong? is that what makes them similar to Beatrice and Benedick?

i'm sorry i don't have anything terribly intelligent to say today. or any good questions even. sometimes the magic works and sometimes it doesn't!

quote of the day:
'good Lord Boyet, my beauty, though but mean,
needs not the painted flourish of your praise.
beauty is bought by judgement of the eye,
not uttered by base sale of chapmen's tongues.
i am less proud to hear you tell my worth
than you much willing to be counted wise
in spending your wit in the praise of mine.'
   -Princess; act 2, scene 1

for tomorrow: the rest of the scene!

-rebecca may

Love's Labor's Lost Act 1, Scene 2

277.

hey kids! here's what it is: i left home for school at 9am and i'm just getting home now at 1:23am. i did my reading in-between class and the show tonight, but i think this is as far as the blog is going to get tonight. i will get up-to-date tomorrow. because it's homework day! woot. hope you all had a great night. i will be back mañana...


okay! here we go. i managed to get through the rest of act 1, scene 1 with little hassle and read act 1, scene 2 too! here's what i got from it:

act 1, scene 1 continued
Berowne asks/complains if they will be able to have any fun for the next 3 years. the king tells him yes of course, there is a traveller from Spain named Armado who will bring them a lot of amusement. Longaville also suggests that they might gain amusement from the fool, Costard. just then, Costard enters with Dull, a constable. Costard is in big trouble with Armado because he broke the king's decree by fooling around with a young wench named Jaquenetta. there's a lot of malapropisms and wordplay flying around. the letter from Armado is very wordy and over-the-top, a fact which everyone makes fun of. Armado has Jaquenetta in his custody, and has sent Costard to the king for sentencing. Costard tries to get out of punishment through wordplay, but is eventually sentenced to fast for a week, and is sent back to Armado for safe keeping.

act 1, scene 2
Armado and Mote, his page, talk talk talk about nothing really. they tease and pick at each other. Armado eventually confesses that he is in love with Jaquenetta and doesn't know what to do about it. he thinks that only fools fall in love, and asks Mote to name one great man who loved. Mote proceeds to name Hercules and Samson. Armado describes Jaquenetta as being 'most immaculate white and red,' and Mote warns him against those colors. (see quote below.) Armado is ashamed that he loves the girl that he has punished Costard for being with, but he can't help himself. Costard, Jaquenetta, and Dull enter, and Dull explains Costard's sentence, and that Jaquenetta is to be kept there as a dairy maid for her punishment. Armado tries to talk to Jaquenetta, but he pretty much falls flat on his face. again, Costard tries to use wordplay to get out of his sentence, but it doesn't work. Mote sends him to prison to be sure that he won't cheat and eat when he is supposed to be fasting. everyone leaves except for Armado, who decides to throw caution to the wind and allow himself to love Jaquenetta without restraint.


i love Costard. he's hilarious. i just wonder how clear those jokes would be to me if i was watching the play and didn't have the footnotes to help me along. some of them are pretty obvious, and i can imagine them being played in a hilarious way, but i feel like a lot of them would just confuse me. maybe? i would love to know of other people's experience with this.

i also wonder how often and how much this text gets cut these days. i struggle a lot with certain passages, and, like i said, i have the footnotes to help. does this thing get chopped to pieces, or what? and if not, do audiences struggle with it?

Armado is so funny. i love him. he kind of reminds me of Adolpho from The Drowsy Chaperone. ha! i can't wait to see where his storyline goes.

quote of the day:
'if she be made of white and red,
her faults will ne'er be known,
for blushing cheeks by faults are bred,
and fears by pale white shown.
then if she fear, or be to blame,
by this you shall not know,
for still her cheeks possess the same
which native she doth owe.'
   -Mote; act 1, scene 2

for tomorrow: act 2, scene 1
-rebecca may