Kyle’s Reviews > Love's Labour's Lost > Status Update
Kyle
is on page 77 of 272
After reading an article by Patricia Fumerton (1986) on miniature portraits and sonnets in Elizabethan court, it is revealing to notice how hidden love, the private thoughts of Armado and Berowne, make their way into Costard's hands, whose only thoughts are on the amount paid in his hands. Both the artist Hilliard and the poet Sydney were famous in the times for crafting these love tokens; like 16th century Facebook!
— Jan 17, 2014 01:49AM
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Kyle’s Previous Updates
Kyle
is on page 146 of 272
Try as best as I could, I could not get to the end of this most excellent play by this morning's class, mostly due to those dreadfully long articles on Ben Jonson's masques! However an all-nighter with such a delightful play as Love's Labour's Lost is hardly a thing to complain of, in fact, brings back find memories of the triple bill this summer in Montpellier's Domain d'Or, ending with Branagh's 2000 film.
— Jan 17, 2014 07:21PM
Kyle
is on page 104 of 272
Kerrigan refutes the claim that there is a source for this play, perhaps as lost as Love's Labour's Won. If there was something that might have come close to inspiring Shakespeare, it would have been Sir Philip Sidney's pedagogical clown Master Rombus in The Lady of May. Yet as the French lords learn from each other, or true folk like Costard and Jaquenetta, anyone can end up playing a foolish part.
— Jan 17, 2014 03:45AM
Kyle
is on page 71 of 272
With all the posturing of the male characters so far (and lots more to come), it is with gentle mocking insight that Shakespeare create four ladies well-matched for each lord: although they may already be in love, each one knows the insubstantial faults of their counterparts. Berowne again comes off the worst for being a conceited joker, yet what does the supposedly honourable Boyet try to get away with these ladies?
— Jan 16, 2014 11:36PM
Kyle
is on page 60 of 272
The editor of this play did well to point out how much it shares in common with the tragedy King Lear: a seemingly wise ruler expects the support from those closest to him. Two of them flatter while the last dissents. Berowne wit makes him more misunderstood than taciturn Cordelia. It is fitting that this lord has to deal directly with the clown Costard and the swaggering Armado, both fools full of wordplay.
— Jan 16, 2014 10:12PM
Kyle
is on page 40 of 272
The first play for my Shakespearean diversions course, and it seems like the playwright has veered off the familiar, well-sourced path to create something that had little relationship to any other work of literature of the time. The editor celebrates this departure by claim the play has come into its own in the late 20th century,, exploring "the theatricality of culture" (p. 12) and the incivility of lovers for fame.
— Jan 16, 2014 08:31PM
