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Updated: May 22, 2025
The lines on the Parsonage wall and written by the parson-poet were originally above the chimney inside. They run thus: "If thou chance for to find A new house to thy mind, And built without any cost, Be good to the poor As God gives thee store And then thy labour's not lost."
"Well, Adele, I must go down again now. If you wish any advice at any future time, such as it is, it is at your service. You are making `A Bold Stroke for a Husband' that's certain. However, the title of another play is `All's Well that Ends Well." "Well, I will follow out your playing upon plays, Valerie, by saying that with you `Love's Labour's Lost."
In another of Shakespeare's earliest works, which might almost be described as a lyrical farce, rhyme plays also a great part; but the finest passage, the real crown and flower of Love's Labour's Lost, is the praise or apology of love spoken by Biron in blank verse.
Contented in my rugged cot, Your lordly towers I envy not; Though rude our clime and coarse our cheer, True independence greets you here; Amid these forests, dark and wild, Dwells honest labour's hardy child.
The later poet reverses the attitude of the sexes in Love's Labour's Lost: it is the women who make and break the vow; and the women in The Princess insist on the "grand, epic, homicidal" scenes, while the men are debarred, more or less, from a sportive treatment of the subject.
If work's sure and steady theer, labour's paid at starvation prices; while here we'n rucks o' money coming in one quarter, and ne'er a farthing th' next. For sure, th' world is in a confusion that passes me or any other man to understand; it needs fettling, and who's to fettle it, if it's as yon folks say, and there's nought but what we see? Mr.
The "h" in "Moth" in "Love's Labour's Lost" is another example. Noting or overhearing as a factor of the plot is introduced also in "Love's Labour's Lost."
There's rest, deep rest, at this still hour A holy calm, a pause profound; Whose soothing spell and dreamy power Lulls into slumber all around. There's rest for labour's hardy child, For Nature's tribes of earth and air, Whose sacred balm and influence mild, Save guilt and sorrow, all may share.
But even so, we have sufficient to "give us pause," says Mr. Greenwood, with justice. It gives ME "pause," if I am to believe that, between 1587 and 1592, Will wrote Love's Labour's Lost, The Comedy of Errors, A Midsummer Night's Dream, and Romeo and Juliet.
'The Comedy of Errors' in 1589, 'Love's Labour's Lost' in 1589, 'Two Gentlemen of Verona' in 1589 or 1590," and so forth, and then asks, "with this catalogue of dramatic work on hand... was it possible that he could have taken a leading part in the management and conduct of two theaters, and if Mr.
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