Love's Labour's Lost
Please see the bottom of the page for explanatory notes.
|ACT I SCENE II ||The same.|| |
| ||Enter ARMADO and MOTH.|| |
|ARMADO ||Boy, what sign is it when a man of great spirit|| |
| ||grows melancholy?|| |
|MOTH ||A great sign, sir, that he will look sad.|| |
|ARMADO ||Why, sadness is one and the self-same thing, dear imp.|
|MOTH ||No, no; O Lord, sir, no!|| |
|ARMADO ||How canst thou part sadness and melancholy, my|| |
| ||tender juvenal?|| |
|MOTH ||By a familiar demonstration of the working, my tough senior.|| |
|ARMADO ||Why tough senior? why tough senior?|| 10|
|MOTH ||Why tender juvenal? why tender juvenal?|| |
|ARMADO ||I spoke it, tender juvenal, as a congruent epitheton|| |
| ||appertaining to thy young days, which we may|| |
| ||nominate tender.|| |
|MOTH ||And I, tough senior, as an appertinent title to your|
| ||old time, which we may name tough.|| |
|ARMADO ||Pretty and apt.|| |
|MOTH ||How mean you, sir? I pretty, and my saying apt? or|| |
| ||I apt, and my saying pretty?|| || 20|
|ARMADO ||Thou pretty, because little.|
|MOTH ||Little pretty, because little. Wherefore apt?|| |
|ARMADO ||And therefore apt, because quick.|| |
|MOTH ||Speak you this in my praise, master?|| |
|ARMADO ||In thy condign praise.|| |
|MOTH ||I will praise an eel with the same praise.|
|ARMADO ||What, that an eel is ingenious?|| |
|MOTH ||That an eel is quick.|| |
|ARMADO ||I do say thou art quick in answers: thou heatest my blood.|| 30|
|MOTH ||I am answered, sir.|| |
|ARMADO ||I love not to be crossed.|
|MOTH ||[Aside.] He speaks the mere contrary; crosses love not him.|| |
|ARMADO ||I have promised to study three years with the duke.|| |
|MOTH ||You may do it in an hour, sir.|| |
|ARMADO ||Impossible.|| |
|MOTH ||How many is one thrice told?|| |
|ARMADO ||I am ill at reckoning; it fitteth the spirit of a tapster.|| 40|
|MOTH ||You are a gentleman and a gamester, sir.|| |
|ARMADO ||I confess both: they are both the varnish of a|| |
| ||complete man.|| |
|MOTH ||Then, I am sure, you know how much the gross sum of|| |
| ||deuce-ace amounts to.|
|ARMADO ||It doth amount to one more than two.|| |
|MOTH ||Which the base vulgar do call three.|| |
|ARMADO ||True.|| |
|MOTH ||Why, sir, is this such a piece of study? Now here|| |
| ||is three studied, ere ye'll thrice wink: and how|
| ||easy it is to put 'years' to the word 'three,' and|| |
| ||study three years in two words, the dancing horse|| |
| ||will tell you.|| 52|
|ARMADO ||A most fine figure!|| |
|MOTH ||[Aside.] To prove you a cipher.|
|ARMADO ||I will hereupon confess I am in love: and as it is|| |
| ||base for a soldier to love, so am I in love with a|| |
| ||base wench. If drawing my sword against the humour|| |
| ||of affection would deliver me from the reprobate|| |
| ||thought of it, I would take Desire prisoner, and|
| ||ransom him to any French courtier for a new-devised|| |
| ||courtesy. I think scorn to sigh: methinks I should|| |
| ||outswear Cupid. Comfort, me, boy: what great men|| |
| ||have been in love?|| |
|MOTH ||Hercules, master.|| 63|
|ARMADO ||Most sweet Hercules! -- More authority, dear boy, name|| |
| ||more; and, sweet my child, let them be men of good|| |
| ||repute and carriage.|| |
|MOTH ||Samson, master: he was a man of good carriage, great|| |
| ||carriage, for he carried the town-gates on his back|
| ||like a porter: and he was in love.|| 69|
|ARMADO ||O well-knit Samson! strong-jointed Samson! I do|| |
| ||excel thee in my rapier as much as thou didst me in|| |
| ||carrying gates. I am in love too. Who was Samson's|| |
| ||love, my dear Moth?|
|MOTH ||A woman, master.|| |
|ARMADO ||Of what complexion?|| |
|MOTH ||Of all the four, or the three, or the two, or one of the four.|| |
|ARMADO ||Tell me precisely of what complexion.|| |
|MOTH ||Of the sea-water green, sir.|| 81|
|ARMADO ||Is that one of the four complexions?|| |
|MOTH ||As I have read, sir; and the best of them too.|| |
|ARMADO ||Green indeed is the colour of lovers; but to have a|| |
| ||love of that colour, methinks Samson had small reason|| |
| ||for it. He surely affected her for her wit.|
|MOTH ||It was so, sir; for she had a green wit.|| |
|ARMADO ||My love is most immaculate white and red.|| |
|MOTH ||Most maculate thoughts, master, are masked under|| |
| ||such colours.|| |
|ARMADO ||Define, define, well-educated infant.|
|MOTH ||My father's wit and my mother's tongue, assist me!|| |
|ARMADO ||Sweet invocation of a child; most pretty and|| |
| ||pathetical!|| 92|
|MOTH ||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.|| 100|
| ||A dangerous rhyme, master, against the reason of|| |
| ||white and red.|| |
|ARMADO ||Is there not a ballad, boy, of the King and the Beggar?|| |
|MOTH ||The world was very guilty of such a ballad some|
| ||three ages since: but I think now 'tis not to be|| |
| ||found; or, if it were, it would neither serve for|| |
| ||the writing nor the tune.|| |
|ARMADO ||I will have that subject newly writ o'er, that I may|| |
| ||example my digression by some mighty precedent.|
| ||Boy, I do love that country girl that I took in the|| |
| ||park with the rational hind Costard: she deserves well.|| 111|
|MOTH ||[Aside.] To be whipped, -- and yet a better love han my master.|| |
| ||my master.|| |
|ARMADO ||Sing, boy; my spirit grows heavy in love.|| |
|MOTH ||And that's great marvel, loving a light wench.|
|ARMADO ||I say, sing.|| |
|MOTH ||Forbear till this company be past.|| |
| ||Enter DULL, COSTARD, and JAQUENETTA|| |
|DULL ||Sir, the duke's pleasure is, that you keep Costard|| |
| ||safe: and you must suffer him to take no delight|| |
| ||nor no penance; but a' must fast three days a week.|
| ||For this damsel, I must keep her at the park: she|| |
| ||is allowed for the day-woman. Fare you well.|| 122|
|ARMADO ||I do betray myself with blushing. -- Maid!|| |
|JAQUENETTA ||Man!|| |
|ARMADO ||I will visit thee at the lodge.|
|JAQUENETTA ||That's hereby.|| |
|ARMADO ||I know where it is situate.|| |
|JAQUENETTA ||Lord, how wise you are!|| |
|ARMADO ||I will tell thee wonders.|| |
|JAQUENETTA ||With that face?|| 130|
|ARMADO ||I love thee.|| |
|JAQUENETTA ||So I heard you say.|| |
|ARMADO ||And so, farewell.|| |
|JAQUENETTA ||Fair weather after you!|| |
|DULL ||Come, Jaquenetta, away!|
| ||Exeunt DULL and JAQUENETTA|| |
|ARMADO ||Villain, thou shalt fast for thy offences ere thou|| |
| ||be pardoned.|| |
|COSTARD ||Well, sir, I hope, when I do it, I shall do it on a|| |
| ||full stomach.|| |
|ARMADO ||Thou shalt be heavily punished.|| 140|
|COSTARD ||I am more bound to you than your fellows, for they|| |
| ||are but lightly rewarded.|| |
|ARMADO ||Take away this villain; shut him up.|| |
|MOTH ||Come, you transgressing slave; away!|| |
|COSTARD ||Let me not be pent up, sir: I will fast, being loose.|
|MOTH ||No, sir; that were fast and loose: thou shalt to prison.|| |
|COSTARD ||Well, if ever I do see the merry days of desolation|| |
| ||that I have seen, some shall see.|| 150|
|MOTH ||What shall some see?|| |
|COSTARD ||Nay, nothing, Master Moth, but what they look upon.|
| ||It is not for prisoners to be too silent in their|| |
| ||words; and therefore I will say nothing: I thank|| |
| ||God I have as little patience as another man; and|| |
| ||therefore I can be quiet.|| |
| ||Exeunt MOTH and COSTARD.|| |
|ARMADO ||I do affect the very ground, which is base, where|
| ||her shoe, which is baser, guided by her foot, which|| |
| ||is basest, doth tread. I shall be forsworn, which|| |
| ||is a great argument of falsehood, if I love. And|| |
| ||how can that be true love which is falsely|| |
| ||attempted? Love is a familiar; Love is a devil:|
| ||there is no evil angel but Love. Yet was Samson so|| |
| ||tempted, and he had an excellent strength; yet was|| |
| ||Solomon so seduced, and he had a very good wit.|| |
| ||Cupid's butt-shaft is too hard for Hercules' club;|| |
| ||and therefore too much odds for a Spaniard's rapier.|
| ||The first and second cause will not serve my turn;|| |
| ||the passado he respects not, the duello he regards|| |
| ||not: his disgrace is to be called boy; but his|| |
| ||glory is to subdue men. Adieu, valour! rust rapier!|| |
| ||be still, drum! for your manager is in love; yea,|| 170|
| ||he loveth. Assist me, some extemporal god of rhyme,|| |
| ||for I am sure I shall turn sonnet. Devise, wit!|| |
| ||write, pen! for I am for whole volumes in folio.|| |
| ||Exit|| |
Love's Labour's Lost, Act 2, Scene 1
Explanatory Notes for Act 1, Scene 2
From Love's Labour's Lost. Ed. William Rolfe. New York: Harper & Brothers.
Abbreviations Used in the Notes
5. Imp. Youngling; used only by Armado, Holofernes,
and Pistol. The word originally meant an offshoot or scion of a tree; thence, figuratively, offspring or child; finally becoming limited to a young devil. Johnson remarks that Lord Cromwell, in his last letter to Henry VIII., prays for the imp his son. Spenser in the prologue to F. Q. addresses Cupid as
"most dreaded impe of highest Jove,
Cf. F. Q. iii. 5. 53:
Faire Venus sonne"
"Fayre ympes of beauty, whose bright shining beames
8. Juvenal. Juvenile, youth; used only by Armado, Flute (M. N. D. iii. 1. 97), and in jest by Falstaff (2 Hen. IV. i. 2. 22).
Adorne the world with like to heavenly light," etc
11. Senior. The 1st quarto has "signeor," and the folio "signeur."
13. Epitheton. Epithet; the reading of 2d folio. The 1st folio has
"apathaton," and the quarto "apethaton."
33. Crosses love not him. The boy plays on crosses as applied to coin.
We have the same pun in A. Y. L. ii. 4. 12 and 2 Hen. IV. i. 2. 253 (see our ed. p. 156). Mere = absolute, very. See on i. 1. 146 above.
40. A tapster. For other allusions to the tapster's reckoning, or keeping
account with customers, cf. 2 Hen. IV. i. 2. 193 and T. and C. i. 2. 123.
43. Complete. Accomplished. Cf. Hen. VIII. i. 2. 118: "This man so complete," etc.
52. The dancing horse. A famous horse of the time, often called
"Bankes' horse" from his owner, who had trained him to perform many remarkable feats. Raleigh, in his Hist. of the World, says: "If Banks had lived in older times, he would have shamed all the inchanters in the
world; for whosoever was most famous among them could never master or instruct any beast as he did his horse." Steevens quotes, among other allusions to the animal, B. J[onson]., Every Man Out of His Humour: "He
keeps more ado with this monster than ever Bankes did with his horse;" and the same author's Epigrams:
"Old Banks the jugler, our Pythagoras,
In France, according to Bishop Morton, Bankes "was brought into suspition of magicke, because of the strange feates which his horse Morocco plaied at Orieance;" but Bankes having made the beast kneel down to
a crucifix and kiss it, "his adversaries rested satisfied, conceiving (as it
might seeme) that the divell had no power to come neare the crosse."
In Rome he was less fortunate, if we may believe Reed, who says that
both horse and owner were there burned by order of the Pope. According to other authorities, however, Bankes came back safe to London, and was still living in King Charles's time, a jolly vintner in Cheapside. For fuller accounts of him and his horse, see Douce's Illustrations, Chambers's Book of Days, or Halliwell's folio ed.
Grave tutor to the learned horse."
60. Courtesy. Curtsy; used by men as well as women. See Much Ado, p. 159.
65. Sweet my child. My sweet child. See Gr. 13.
82. Green indeed is the colour of lovers. Some say, because of its association with jealousy, "the green-eyed monster;" others, as being the colour of the willow, "worn of forlorn paramours" (cf. Much Ado, p.
85. A green wit. Probably, as the Camb. editors remark, there is an allusion to the green withes with which Samson was bound. See p. 128 above (on Dramatis Persons).
87. Maculate. The reading of the 1st quarto; the other early eds. have "immaculate."
92. Pathetical. The Coll. MS. has "poetical."
100. Native she doth owe. She possesses by nature. For owe = own, cf. ii. 1. 6 below. Gr. 290.
103. The King and the Beggar. The ballad of King Cophetua and the
Beggar-maid, which may be found in Percy's Reliques. For other allusions to it, see iv. 1. 64 below, R. and J. ii. 1. 14, and Rich. II. v. 3. 80.
109. Digression. "Going out of the right way, transgression" (Steevens). Cf. R. of L. 202:
"Then my digression is so vile, so base,
Cf. also digressing in Rich. II. v. 3. 66.
That it will live engraven in my face."
111. Rational hind. Perhaps Armado's fantastic way of expressing
"human hind," hind being a beast (a deer), as well as a boor; but rational may be a misprint for "irrational," as Hanmer regarded it. Farmer objects to the former interpretation, that it makes Costard a female
animal; but Steevens quotes in reply J. C. i. 3. 106: "He were no lion,
were not Romans hinds."
115. A light wench. S. is fond of playing upon the different senses of
light. Cf. M. of V. v. I. 130:
"Let me give light, but let me not be light;
See also ii. 1. 197 and v. 2. 25 below; and for light = wanton, iv. 3. 380.
For a light wife doth make a heavy husband."
119. Let him. The folio reading; the 1st quarto has "suffer him to,"
and in the next line "a" for he.
121. Day-woman. Dairy-woman.
126. That's hereby. "Hereby is used by her (as among the vulgar in
some countries) to signify as it may happen; he takes it in the sense of
just by" (Steevens). We have it in the latter sense in iv. 1.9 below. The
only other instance of the word in S. is in Rich. III. i. 4. 94.
127. Situate. For the form, see Gr. 342.
130. With that face? Steevens says: "This cant phrase has oddly
lasted till the present time; and is used by people who have no more meaning annexed to it than Fielding had, who, putting it into the mouth of Beau Didapper, thinks it necessary to apologize (in a note) for its want of sense, by adding that 'it was taken verbatim from very polite conversation.'"
135. Come, Jaqnenetta, away! Given by the quartos and the folio to
"Clo. (that is, Clown, or Costard); corrected by Theo. The next speech is given by the 1st quarto to "Ar." by the 1st folio to "Clo." and by the later folios to "Con."
141. Fellows. D[yce]. and H[aliwell]. follow Capell in reading "followers."
147. last and loose. A quibbling reference to the cheating game so
called. See K. John, p. 156, and cf. iii. 1. 97 below.
157. Affect. Love; as in 84 above. Cf. Much Ado, i. I. 298: "Dost
thou affect her?" etc.
159. Argument. Proof; as in Much Ado, ii. 3. 243, T. N. iii. 2. 12, etc.
161. Familiar. "Familiar spirit," or demon; as in 2 Hen. VI. iv. 7. 114: "he has a familiar under his tongue," etc. Cf. also the adjective in Sonn. 86. 9:
"that affable familiar ghost
164. Butt-shaft. A kind of arrow used for shooting at butts, or targets. Cf. R. and J.. p. 171. [Also, of course, in the bawdy sense. - Sh. Online.]
Which nightly gulls him with intelligence."
166. The first and second cause, etc. Alluding to the classified causes of quarrel in the elaborate duelling science of the time. Cf. Touchstone's ridicule of them in A. Y. L. v. 4. 52 fol.; and see our ed. p. 198, note on By the book. As Saviolo's book, evidently alluded to here, was printed
in 1594, this passage is one of the indications of the revision of the play
before the publication of the 1st quarto. See p. 10 above.
167. Passado. A thrust in fencing. See R.and J. p. 171.
170. Manager. Changed in the Coll. MS. to "Armiger;" but manage is often used of arms. Cf. Rich. II. iii. 2. 118, 2 Hen. IV. iii. 2. 292, 301, R.and J. i. I. 76, etc.
171. Sonnet. The reading of all the early eds. changed by Hanmer to "sonneteer," by Capell to "sonneter," by the Coll. MS. to "sonnet-maker," and by D. to "sonnetist." V. and W. read "turn sonnets." Turn sonnet is not unlike Armado. Cf. Much Ado, ii. 3. 21: "now is he turned orthography;" where some read "orthographer" or "orthographist."
How to cite the explanatory notes:
Shakespeare, William. Love's Labour's Lost. Ed. William Rolfe. New York: Harper & Brothers, 1899. Shakespeare Online. 10 Aug. 2013. < http://www.shakespeare-online.com/plays/LLL_1_2.html >.
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