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Updated: May 13, 2025
Is Boyet's conclusion that "Navar is affected," more a means of telling the Audience what is about to happen, than comment on what is to be seen? Or is it of use to show the Actor of the King's part how he must bear himself? How does it fit with the name and scheme of the Play that Boyet who thinks the King has already fallen in love should be called Cupid's grandfather?
The note of his earliest comic style was often a boyish or a birdlike wantonness, very capable of such liberties and levities as those of Lesbia's sparrow with the lip or bosom of his mistress; as notably in the parts of Boyet and Mercutio: and indeed there is a bright vein of mere wordy wilfulness running throughout the golden youth of the two plays which connects Love's Labour's Lost with Romeo and Juliet as by a thread of floss silk not always "most excellently ravelled," nor often unspotted or unentangled.
Our deepest student of human nature makes his favourite Beatrice, on receiving a hint, run down the garden like a lapwing, to do a bit of deliberate eavesdropping; whilst her masculine counterpart, Benedick, has to hear his share of the disclosure inadvertently and reluctantly. Similarly, in Love's Labour Lost, when the mis-delivered letter is handed to Lord Boyet to read, he says:
Is the Princess too hard upon him? Why does Berowne scoff so fiercely at Boyet? Is the presentation of the Nine Worthies too absurd in itself to mix well with the courtliness, learning, and elaborate wit of the rest of the Play? The Princess's defence of it and its correspondence with that of Theseus for the show of the "base mechanicals" in the "Midsommer Nights Dreame."
Here too is the first dawn of that higher and more tender humour which was never given in such perfection to any man as ultimately to Shakespeare; one touch of the by-play of Launce and his immortal dog is worth all the bright fantastic interludes of Boyet and Adriano, Costard and Holofernes; worth even half the sallies of Mercutio, and half the dancing doggrel or broad-witted prose of either Dromio.
What saw he? the beggar. Who overcame he? the beggar. The conclusion is victory. On whose side? etc. 'Thine in the dearest design of industry. Boyet. I am much deceived but I remember the style. Princess. Else your memory is bad going o'er it erewhile. Jaquenetta. Good Master Parson, be so good as to read me this letter it was sent me from Don Armatho: I beseech you to read it.
He had the kind of knowledge of them that only the countryman has. In "As You Like It," JAQUES tells AMIENS: "I can suck melancholy out of a song as a weasel sucks eggs." Every gamekeeper, and every farmer for that matter, knows how destructive the weasel and its kind are to birds' eggs, and to the eggs of game-birds and of domestic fowls. In "Love's Labor's Lost," BIRON says of BOYET:
'She did not till quite a short time ago. He controlled his impatience till the beginning of the second act. The Princess entered; it was Paula. But whether the slight embarrassment with which she pronounced her opening words, 'Good Lord Boyet, my beauty, though but mean, Needs not the painted flourish of your praise,
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