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6 X 10.5 Long Title.P65 Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons, University of M¨unster associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. LOVE’S LABOUR’S LOST Love’s Labour’s Lost, the first work to bear Shakespeare’s name on its title page, differs greatly from his other early plays, both for its highly unorthodox ending and for its extraordinary use of language. This new edition presents a highly readable, modernized text of the play, freshly edited from the first quarto published in 1598. A thorough but concise scholarly and critical commentary provides exciting new perspectives on Love’s Labour’s Lost, and a comprehensive introduction discusses the significant elements of the play and its place in theatrical history. New critical trends are reflected in the special attention paid to the play’s performance history since 1950, including films and adaptations, with illustrations of several productions. Engaging and illuminating, this will be an invaluable guide for seasoned scholars as well as students approaching the play for the first time. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE All’s Well That Ends Well, edited by Russell Fraser Antony and Cleopatra, edited by David Bevington As You Like It, edited by Michael Hattaway The Comedy of Errors,editedbyT.S.Dorsch Coriolanus, edited by Lee Bliss Cymbeline, edited by Martin Butler Hamlet, edited by Philip Edwards Julius Caesar, edited by Marvin Spevack King Edward III, edited by Giorgio Melchiori The First Part of King Henry IV, edited by Herbert Weil and Judith Weil The Second Part of King Henry IV, edited by Giorgio Melchiori King Henry V, edited by Andrew Gurr The First Part of King Henry VI, edited by Michael Hattaway The Second Part of King Henry VI, edited by Michael Hattaway The Third Part of King Henry VI, edited by Michael Hattaway King Henry VIII, edited by John Margeson King John, edited by L. A. Beaurline The Tragedy of King Lear, edited by Jay L. Halio King Richard II, edited by Andrew Gurr King Richard III, edited by Janis Lull Love’s Labour’s Lost, edited by William C. Carroll Macbeth, edited by A. R. Braunmuller Measure for Measure, edited by Brian Gibbons The Merchant of Venice, edited by M. M. Mahood The Merry Wives of Windsor, edited by David Crane A Midsummer Night’s Dream, edited by R. A. Foakes Much Ado About Nothing, edited by F.H. Mares Othello, edited by Norman Sanders Pericles, edited by Doreen DelVecchio and Antony Hammond The Poems, edited by John Roe Romeo and Juliet, edited by G. Blakemore Evans The Sonnets, edited by G. Blakemore Evans The Taming of the Shrew, edited by Ann Thompson The Tempest, edited by David Lindley Timon of Athens, edited by Karl Klein Titus Andronicus, edited by Alan Hughes Troilus and Cressida, edited by Anthony B. Dawson Twelfth Night, edited by Elizabeth Story Donno The Two Gentlemen of Verona, edited by Kurt Schlueter The Winter’s Tale, edited by Susan Snyder and Deborah T. Curren-Aquino the early quartos The First Quarto of Hamlet, edited by Kathleen O. Irace The First Quarto of King Henry V, edited by Andrew Gurr The First Quarto of King Lear, edited by Jay L. Halio The First Quarto of King Richard III, edited by Peter Davison The First Quarto of Othello, edited by Scott McMillin The First Quarto of Romeo and Juliet, edited by Lukas Erne The Taming of a Shrew: The 1594 Quarto, edited by Stephen Roy Miller © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information LOVE’S LABOUR’S LOST Edited by WILLIAM C. CARROLL Boston University © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521294317 C Cambridge University Press 2009 First published 2009 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Shakespeare, William, 1564–1616. Love’s labour’s lost / edited by William C. Carroll. p. cm. – (The new Cambridge Shakespeare) Includes bibliographical references. isbn 978-0-521-22277-8 – isbn 978-0-521-29431-7 (pbk.) 1. Navarre (Kingdom) – Drama. 2. Courts and courtiers – Drama. 3. Shakespeare, William, 1564–1616. Love’s labour’s lost. I. Carroll, William C., 1945– II. Title. III. Series. pr2822.a2c37 2009 822.33 –dc22 2009011363 isbn 978-0-521-22277-8 hardback isbn 978-0-521-29431-7 paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information CONTENTS List of illustrations page vii Acknowledgements ix List of abbreviations and conventions xi Introduction 1 Approaches to the play 1 Male friendship and heterosexual desire 1 Women, property, vision 4 Language 8 Representations of the court 10 Stagecraft: three metadramatic scenes 13 The ending 22 Date and occasion 23 Sources and historical contexts 29 The French Academy and humanist thought 29 The School of Night 31 Sidney, Lyly, and the literary scene of the 1590s 33 Early history to 1632 36 Publication, performance, and appropriation 36 Love’s Labour’s Won 39 The Passionate Pilgrim and England’s Helicon 40 Performance and appropriation, 1632 to the present 42 Note on the text 55 List of characters 58 THE PLAY 61 Supplementary notes 178 Textual analysis 181 v © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information Contents vi Appendix 1 195 Appendix 2 196 Appendix 3 198 Appendix 4 200 Reading list 203 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information ILLUSTRATIONS 1 Possible staging of Act 4, Scene 3. Drawing by C. Walter Hodges. page 14 2 Act 4, Scene 3, Nicholas Martin’s production, The Huntington Theatre, 2006. Photograph courtesy of T. Charles Erickson 15 3 Possible staging of Act 5, Scene 2, the Masque of Muscovites. Drawing by C. Walter Hodges. 17 4 Act 5, Scene 2, the Masque of Muscovites, David Jones’s production, Royal Shakespeare Theatre, 1975. Photograph: Reg Wilson. Copyright Royal Shakespeare Company (1975). 18 5 Title page, Giles Fletcher, The History of Russia, 1643. By permission of the Folger Shakespeare Library. 19 6 Act 5, Scene 2, The Pageant of the Nine Worthies, Barry Kyle’s production, Royal Shakespeare Theatre, 1985. Photograph: Reg Wilson. Copyright Royal Shakespeare Company (1985). 21 7 Setting for the final songs (Act 5, Scene 2), John Barton’s production, Royal Shakespeare Theatre, 1978. Photograph: Joe Cocks Studio Collection. Copyright Shakespeare Birthplace Trust (1978). 24 8 The Pedant, Edward Forset, Pedantius, 1631. By permission of the Folger Shakespeare Library. 35 9 Paul Scofield as Armado, in Peter Brook’s production, Royal Shakespeare Theatre, 1946. Photograph: Angus McBean. Copyright Royal Shakespeare Company (1946). 46 10 Set design for the final scene, Peter Brook’s production, Royal Shakespeare Theatre, 1946. Photograph: Angus McBean. Copyright Royal Shakespeare Company (1946). 47 11 From left: Alicia Silverstone, Matthew Lillard, Carmen Ejogo, Adrian Lester, Emily Mortimer, Kenneth Branagh, Natascha McElhone, Kenneth Branagh’s film, Miramax Films, 2000. Photographer: Laurie Sparham; by permission of Miramax/ Photofest. 50 12 Set design for Trevor Nunn’s production, The Royal National Theatre, 2003. Photograph courtesy of Geraint Lewis. 51 vii © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information List of illustrations viii 13 The play in the ruins of the Babur Garden, Corinne Jaber’s production, Kabul, Afghanistan, 2005. Photograph courtesy of AP Images Tomas Munita. 53 14 The title page of q1, Love’s Labour’s Lost, 1598. By permission of the Folger Shakespeare Library. 182 15 Detail of q1, Love’s Labour’s Lost, k2v, 1598. By permission of the Folger Shakespeare Library. 191 16 Detail of f, Mr. William Shakespeares comedies, histories & tragedies, m6v (p. 144). By permission of the Folger Shakespeare Library. 191 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-22277-8 - Love’s Labour’s Lost Edited by William C. Carroll Frontmatter More information ACKNOWLEDGEMENTS MyinterestinLove’sLabour’sLostbeganmanyyearsago,asthefocusofmydissertation. After completing that project, two events followed that changed how I have viewed and understood the play.
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