Love's Labour's LostPenguin UK, 29.09.2005 г. - 288 страници A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity. |
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... Jaquenetta's pregnancy, we cannot believe that the braggart himself poses a threat to the clown. Yet his 'Thou shalt die!' (line 676) is fearful nevertheless: Costard must indeed one day die. Death, here, is not the abstraction of ...
... Jaquenetta's pregnancy, we cannot believe that the braggart himself poses a threat to the clown. Yet his 'Thou shalt die!' (line 676) is fearful nevertheless: Costard must indeed one day die. Death, here, is not the abstraction of ...
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... Jaquenetta and Dull – rustic taciturnity and illiteracy personified – play no part in the show, except, in Dull's case, for the occasional inarticulate rumble on the tabor (see V.1.146–8). But Costard, who has a rudimentary feeling for ...
... Jaquenetta and Dull – rustic taciturnity and illiteracy personified – play no part in the show, except, in Dull's case, for the occasional inarticulate rumble on the tabor (see V.1.146–8). But Costard, who has a rudimentary feeling for ...
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... Jaquenetta ... the weaker vessel' (I.1.250–61). The clown is absolutely unrepentant. 'It is the manner of a man to speak to a woman', he says, and 'Such is the sinplicity of man to hearken after the flesh' (I.1.206–7, 214–15). Costard ...
... Jaquenetta ... the weaker vessel' (I.1.250–61). The clown is absolutely unrepentant. 'It is the manner of a man to speak to a woman', he says, and 'Such is the sinplicity of man to hearken after the flesh' (I.1.206–7, 214–15). Costard ...
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... Jaquenetta similarly outfaces her admirer (II.1.114–28, I.2.126–39). If love drives Berowne to poetry, it makes Armado brimful of sonnets (IV.3.12–17, I.2.176–8); and if the courtier includes a sample of his work in a letter which goes ...
... Jaquenetta similarly outfaces her admirer (II.1.114–28, I.2.126–39). If love drives Berowne to poetry, it makes Armado brimful of sonnets (IV.3.12–17, I.2.176–8); and if the courtier includes a sample of his work in a letter which goes ...
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actors Aquitaine ARMADO audience bawdy BEROWNE Berowne’s BOYET braggart characters comedy comic compositor Costard cuckoo Cupid dance death doth Dull DUMAINE edition editors Elizabethan emendation Enter Exeunt Exit fair father favour fool forsworn foul papers France give goose grace hath hear heart heaven Hector Henry Hercules HOLOFERNES Holofernes’s honour horns Jaquenetta Judas Judas Maccabaeus Katharine King King Lear King’s l’envoy lady letter light Longaville lords Love’s Labour’s Lost lovers madam Marcade MARIA means Midsummer Night’s Dream mistress mock MOTE Mote’s Nathaniel Navarre Navarre’s night Nine Worthies o’er oath play play’s Pompey praise PRINCESS printed Q and F Q or F quibbling reading rhyme Romeo and Juliet Rosaline Rosaline’s scene school of night sense Shakespeare Shakespearian sing song Sonnets sore speech prefixes stage direction sweet theatre thee thou tongue visor wench woman women word