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The article present the interpretation of the final scene in William Shakespeare's play "Love's Labour's Lost", specifically analyzing the Princess's speech in lines 5.2.786-806. It suggests that the Princess initiates a rite of passage at the end of the play, highlighting three stages implied in her lines: separation, transition and incorporation; and challenges traditional readings of the play's unconventional ending and proposes a new perspective rooted in the concept of rites of passage.

In Love's Labour's Lost, the creation of an academe where study is posited as the antidote to the diseases of the mind caused by worldly desire results in an epidemic of lovesickness. Lovesickness, otherwise known as 'erotic melancholy' or 'erotomania', was treated in contemporary medical documents as a real, diagnosable illness, a contagious disease thought to infect the imagination through the eyes, which could be fatal if left untreated. Such representation of love as a communicable disease is drawn, I suggest, from a neoplatonic tradition led by the work of Marsilio Ficino, particularly his fifteenth-century treatise Commentary on Plato's Symposium on Love. Ficino's construction of eros as a kind of 'vulgar love', distinctive from 'heroic love', emphatically denotes lovesickness as a kind of material contagion with the eye as its primary means of transmission, an idea that had a more significant influence in England and on the work of playwrights like William Shakespeare than has previously been acknowledged. For all its lighthearted conceits, Love's Labour's Lost takes lovesickness and its etiology very seriously, in ways that have been almost entirely ignored by scholarship on this play. [ABSTRACT FROM AUTHOR]

A literary criticism of the play "Love's Labour's Lost," by William Shakespeare is presented. It examines the play's exploration of racialized theory of poesy as a masculine property of whiteness, the play's emphasis on the benefits of loving women, and the play's linguistic and rhetorical parallels to Sir Philip Sidney's "The Defence of Poesy."

This close reading examines the ways – metrical, stylistic, syntactic, dictional – in which Berowne fails to turn over a new leaf in the couplet at 5.2.414–5 of Love's Labour's Lost. [ABSTRACT FROM AUTHOR]

A criticism of the book "Love's Labour's Lost," by William Shakespeare is presented. Topics discussed include the French and Italian translations that occur in the book, Shakespeare as a translator and his knowledge of other languages, the link of the act of interpretation in Shakespeare to understanding and active communication, and the use of synonymy in association with translation in the book.

The article informs that 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 further highlights Rosalind, that is the heroine and protagonist of the play by William Shakespeare.

The article offers information related to "Love's Labour's Lost" that 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 reports the novel 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.

This article is an offshoot of work towards an edition of Bel-vedére or The Garden of the Muses, a printed commonplace book published in 1600. The editors' comprehensive analysis of the origins of the 4,482 one- or two-line passages has resulted in the discovery of thirteen hitherto untraced passages that are based on Shakespeare (and of a fourteenth passage whose Shakespearean origins were discovered by the scholar Charles Crawford in the early twentieth century but not published). These passages and their Shakespearean source texts in Romeo and Juliet, Love's Labour's Lost, Richard II, Richard III, Venus and Adonis, and The Rape of Lucrece are discussed here and serve to illustrate the range of adaptive strategies used in the compilation of the commonplace book. Three additional passages which have perhaps been adapted from Shakespeare source texts, including one of his sonnets, are also discussed. Discussion of the Shakespearean presence in Bel-vedére is contextualised by a brief account of prior work on the commonplace book and the attempted identification of its origins. [ABSTRACT FROM AUTHOR]

The article examines the discovery of a records from a 17th-century British bookseller suggesting that William Shakespeare wrote a play titled "Love's Labour's Won" that was in print by the year 1603.

The author presents a criticism of the English play "Love's Labour's Lost" by William Shakespeare. She mentions the tale of King Cophetua and the Beggar Maid, presents several allusions to the ballad that appear in the play, and the performance of the ballad in the play.

Analyzes a part of William Shakespeare's play `Love's Labor's Lost.' Confusion regarding the reference to the school on top of the mountain; Connection with the House of Montague in London, England.

The article focuses on entrepreneur Philip Henslowe's diary to reconstruct history for play "Love's Labour's Lost" and mentions terminus ante quem is provided by quarto of 1598. Topics discussed include play quarto to identify playwright William Shakespeare as playwright on the title page, theoretical reconstruction of the stage history of play "The Comedy of Errors" and Shakespeare's reference to Latin version while writing Comedy of Errors.

This article argues the courtships as performed in Love’s Labour’s Lost challenge early modern marital ideologies. By using performance theory to examine the women’s roles in particular, I argue that as the courtships unfold, the play highlights the particular ways that women emphasize their self-sufficient value by refusing to engage in banter or accept gifts that place them as an object of exchange. Thus the play ends, not as most Shakespearean comedies do by reminding us with overt performative self-consciousness that we have just watched a comedy, but rather that we have not. [ABSTRACT FROM AUTHOR]

The article discusses the Shakespeare's name which first appeared on the title pages of printed playbooks such as "Richard II" and "Richard III", both published by Andrew Wise and "Love's Labour's Lost" published by Cuthbert Burby. It states that the paratextual attributions have generated considerable critical interest and are often used to suggest the increasing status of commercial drama and of Shakespeare's position as the most published professional dramatist of the sixteenth century.

In the mid-1590s, William Shakespeare fashioned his insistently topical Love's Labour's Lost out of unlikely material, the turbulence in contemporary France. The violence and schism had become so severe that King Henri IV had converted to Catholicism in attempt to pacify his nation. Nothing about France's situation would seem to lend itself to a romantic comedy for a Protestant England. If, however, we examine Love's Labour's Lost alongside the representations of Henri, the Catholic League, and France's situation that were coming out of the English presses between 1593 and 1595, a different picture emerges. The gap between history and Shakespeare's play dramatically narrows, and the play becomes funnier. The comedy remains critical and wary of Henri, but allows English spectators to laugh with , rather than at, a weak but unified France. Shakespeare's clever reworkings of topical connections create a political spoof humorous to the large numbers of Londoners reading the news. Through the redemptive impulses of comedy, Shakespeare creates a space for tolerating Henri as a Catholic working to stabilize his nation—as long as this French King stays under England's and Elizabeth's auspices. [L.S.] [ABSTRACT FROM AUTHOR]

The article reviews the theatrical production "Love's Labour's Lost & Much Ado About Nothing or Love's Labour's Won" directed by Christopher Luscombe performed on March 15, 2017 at Theatre Royal Haymarket, London, England.

The article reviews several theatrical productions featured at Festival Shakespeare Plays held in Ontario in September 2015, including "Love's Labour's Lost," directed by John Caird, "The Taming of the Shrew," directed by Chris Abraham, and "The Adventures of Pericles," directed by Scott Wentworth.

The article focuses on several plays written by William Shakespeare. The plays being discussed here include "The Comedy of Errors," "Love's Labour's Lost," and "Varsity." Also being discussed are the characters of these plays and the actors who played their roles in the theatrical productions of these acts.

The article reviews the theatrical performance "Love's Labour's Lost" written by William Shakespeare and directed by Brian Crowe at the Outdoor Stage at the College of St. Elizabeth, Convent Station, New Jersey on June 17 to July 26, 2015.

The article discusses the authorship question in the play "Love's Labour's Lost" by William Shakespeare. Topics discussed include a review of the play by literary critic Samuel Johnson, the historiography and language used in the play, and the assumption from critics that the play was penned in the early writing career of Shakespeare. Also discussed are factors to consider such as the 1578 travel of Queen Elizabeth to eastern counties, parody of Russians, and a familiarity with court life.

The article reviews the two theatrical productions directed by Christopher Luscombe and starring Sam Alexander at the Royal Shakespeare Theatre in Stratford-Upon-Avon, England, "Love's Labour's Lost" on September 23, 2014-March 14, 2015 and "Much Ado About Nothing" on October 3, 2014-March 14, 2015.

The article offers information on the production of William Shakespeare's "Love's Labour's Lost" which focuses on human dilemmas and political paradox. The author mentions that the play represents green space wherein the production's design referenced early modern gardening manuals and practices. She states that the production feature a deer puppet and pastoral note.

The article lists several books received by the periodical including "A Critical Reader" by Annaliese Connolly, "Love's Labour's Lost" by Pascale Drouet, and "Approaches to Shakespeare's The Taming of the Shrew" by Margaret Dupuis and Grace Tiffany.

The article presents an analysis of the English playwright William Shakespeare's knowledge of catechetical primers and his use of their language in several of his plays. Topics addressed include an overview of the format and usage of primers in the education practices of Shakespeare's time, Shakespeare's particular use of Marian devotional material from Catholic primers, and examples from the plays "Pericles," "Hamlet," and "Love's Labour's Lost."

The article reviews the theatrical adaptations of William Shakespeare's comedies "Love's Labour's Lost" and "Love's Labour's Won," directed by Christopher Luscombe, at Stratford-upon-Avon, England from September 23, 2014 to March 14, 2015 and October 3, 2014 to March 14, 2015, respectively.

While scholarship is certain that white actors did appear in blackface on the Elizabethan stages, this paper argues for the additional possibility of actual moors and blacks appearing on stage in early modern London. Examining the positive social, political, and economic implications of using in performance these bodies perceived as exotic, I argue for the appearance of blacks in Love's Labour's Lost as a display of courtly power in its 1597-8 showing for Elizabeth I. Building on this precedent, Queen Anna's staging of herself as black in the 1605 Masque of Blackness, I argue, worked to assert the new Jacobean court's power. [ABSTRACT FROM AUTHOR]

The article reviews a play "Love's Labour's Lost" directed by Gaye Poole at the Playhouse, Gallagher Academy of Performing Arts, Hamilton, New Zealand from November 15-21, 2016.

William Shakespeare's Love's Labour's Lost notoriously confronts readers and playgoers with a number of puzzles linked to its representation of time and space, resulting in thematic and generic controversies, such as its refusal to end in marriage, "like an old play" (5.2.856). Careful study of unfolding narrative events reveals three overlapping temporal frameworks that render the comedy's unfolding plot at times cyclical and slow, at times measured and moderate, at times linear and fast. These frameworks are accompanied by such spatial juxtapositions as private study vs. public ceremony, bucolic nature vs. courtly artifice, and monastic asceticism vs. worldly pleasures. Using Mikhail Bakhtin's chronotope, which posits the indissoluble connection of time and space in literature, this article will identify three temporo-spatial frames that we have termed the chronotope of the retreat, the chronotope of the embassy, and the chronotope of the comic idyll. Each proves a locus or matrix where narrative events, cultural associations, and generic expectations intermingle to create a complex experience for playgoers and readers. Familiarity with these three models renders the play's purportedly shocking conclusion rather more topically apt, generically logical, and chronotopically inevitable. The resulting temporo-spatial medley generates hitherto unrecognized comic subgenres, thematic coherence, and structural cohesiveness in a play often dismissed as haphazardly plotted or formally inconsistent. [ABSTRACT FROM AUTHOR]

The article reviews revivals of William Shakespeare's plays "Love's Labour's Lost" and "Love's Labour's Won" directed by Christopher Luscombe, to be performed at the Royal Shakespeare Theatre in Stratford-upon-Avon, England through March 14, 2014.

The article discusses the use of the 1586 book "A Methode unto Mortification" by English clergyman Thomas Rogers by English poet and playwright William Shakespeare as a source for his play "Love's Labour's Lost." Topics discussed include Shakespeare's use of the word "mortified" in the play, the 1562 book "Libro de la vanidad del mundo" by Spanish author Diego de Estella, and the appearance of the character Armado, as Shakespeare's first use of a Spanish character.

This paper describes hitherto unnoticed collocations of passages in Thomas Nashe's The Vnfortvnate Traveller and their counter-parts in Shakespeare's Love's Labour's Lost. In each case, the constellations discovered consist of references to "mote," especially the biblical mote in the eye; to the Nine Worthies; and to Neo-Platonic imagery of light, eyes, and soul in love sonnets. Since The Vnfortvnate Traveller arguably predates Shakespeare's play, these constellations, along with other evidence--such as the repeated use of the word "infant" in each work--confirm Shakespeare's remarkable receptiveness to Nashe's diction and imagery. [ABSTRACT FROM AUTHOR]

This essay offers a close examination of the contest of wit between Romeo and Mercutio in Act 2, Scene 3 ofRomeo and Juliet. This contest is often understood to involve mutual banter and to be neutral in both tone and outcome. In contrast, this article aims to show that Mercutio's tone is satirical and that he thoroughly out-wits his friend. This contest is also commonly understood to dramatize Romeo's social and intellectual transformation as a result of meeting Juliet. However, this article attempts to show that Romeo performs poorly in the contest and appears basically unchanged. [ABSTRACT FROM AUTHOR]

The article reviews several plays presented by Seattle Shakespeare Co. including "Antony and Cleopatra," directed by John Langs and performed at Intiman Playhouse in Seattle, Washington from November 2-18, 2012, "Love's Labour's Lost," directed by Jon Kretzu at Center House Theatre from March 13 to April 7, 2013, and "The Taming of the Shrew," directed by Aimee Bruneau at Intiman Playhouse from April 25 to May 12, 2013.

The essay discusses the way in which Tudor-era English literature dealt with the disappearance of English monasticism under the reign of Tudor King Henry VIII and its associated work of devotional and intellectual labor. Focus is given to such works as the poem "The Faerie Queene," by Edmund Spenser, and the play "Love's Labour's Lost," by William Shakespeare. It is argued that such works attempted to recover the otium associated with the now defunct monastic life.

The article focuses on the study of the alphabetic references which contribute to the meaning of the comedies "Love's Labors Lost," "Twelfth Night," and "Two Gentlemen of Verona," by William Shakespeare. Topics discussed include the relationship between the letter and self, the literacy options offered by letter references in the modern English world, and the use of the alphabetic homophones.

This essay suggests that, as plays produced in the wake of Henry VIII's break with Rome and the Protestant Reformation, two early Shakespearean comedies, The Two Gentlemen of Verona (c. 1590-91) and Love's Labour's Lost (c. 1594-95), engage with multilingualism's and translation's impact on early modern English identities in striking ways. While these late-sixteenth-century texts are products of a cultural mind-set grappling with the vicissitudes of Englishness via the dramatization of deftly layered social strata and linguistic differences, ultimately, I argue that they simultaneously anticipate cultural accord. - Keywords: Shakespearean comedy; the Reformation; identity politics in Elizabethan England; social exclusion; friendship We only ever speak one language [...] - (yes, but) - We never speak only one language... (Jacques Derrida 1998: 10) [ABSTRACT FROM AUTHOR]

The essay discusses the plays "Love's Labor's Lost" and "Cymbeline" by William Shakespeare, and how they were staged with modern touches by Hart House Theatre in Toronto, Ontario. The plays were directed by Roy Mitchell in the 1920s, and the author describes amateur actors, Canadian nationalism, and the Arts and Letters Club of Toronto. The author mentions Mitchell's minimalist staging, the plots of the plays, and comedy in theater.

The article reviews the theatrical production "Love's Labour's Lost" directed by Andrei Serban and Karin Coonrod, performed at Riverside Church at Columbia University in New York City in 2010.

The article reviews several plays by William Shakespeare performed at the 2011 Oregon Shakespeare Festival including "Julius Caesar," directed by Amanda Dehnert, "Measure for Measure," directed by bill Rauch and "Love's Labor's Lost," directed by Shana Cooper.