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Updated: June 22, 2025
'Love's Labour's Lost, 'The Taming of the Shrew, the condemned parts of 'Henry the VI., and generally the Poems which are put down in our criticism as doubtful, or as the earlier Poems, are just those Poems in which the Poet's studies are so flatly betrayed on the surface.
In "Love's Labour's Lost" the young playwright, fresh from his own Stratford, its "daisies pied and violets blue," with the gay bright music of its country ditties still in his ears, flings himself into the midst of the brilliant England which gathered round Elizabeth, busying himself as yet for the most part with the surface of it, with the humours and quixotisms, the wit and the whim, the unreality, the fantastic extravagance, which veiled its inner nobleness.
And the Comrade Doctor drew out his pocket-book, which was bursting with clippings, and selected one from a New York paper, telling how the government was proceeding against the officials of an organization called "Labour's National Peace Council" for conspiring to cause strikes and violence.
Is coercion as wise as persuasion which has no such penalties to pay? Shakespeare makes us laugh in "Love's Labour's Lost" at the futility of the attempt of ascetic and academic men to shut out love and women from their schemes of life and study.
In the same month one London publisher, Francis Smethwick, registered for his copies a number of books of the poetical kind which had been the property of his late father, including "Mr. Drayton's Poems," "Euphues's Golden Legacy," Meres's "Witt's Commonwealth," and also "Hamblett, a Play," "The Taming of the Shrew," "Romeo and Juliet," and "Love's Labour's Lost."
A pickaxe or a bill! A hook to reap, or a scythe to mow, A flail, or what ye will And here's a ready hand To ply the needful tool, And skill'd enough, by lessons rough, In Labour's rugged school. HOOD. Higgins's door was locked the next day, when they went to pay their call on the widow Boucher: but they learnt this time from an officious neighbour, that he was really from home.
Just as she came abreast of Labour's Retreat a gun was fired; the white powder-smoke clouded the tailor's lawn; the thunder of the ordnance smote the ear of Joe Westlake, who, dilating his nostrils and directing his eyes at Sloper's villa, bawled out: "Peter! that's meant for us, my heart! Down hellum! slacken away fore and aft! pipe all hands for action!"
I thought so too, when I read p. 51, and saw King John apparently still "coloured on the card" among "Shakespeare's lot." We are now left with Love's Labour's Lost, Midsummer Night's Dream, Comedy of Errors, and Romeo and Juliet, out of Dr. Furnivall's list of plays up to 1593. The phantom force of miraculously early plays is "following darkness like a dream."
It seems scarcely credible that one should be obliged to urge facts so obvious against the Baconian argument that only a Bacon, intimately familiar with the society of the great, could make the great speak as, in the plays, they do and as in real life they probably did NOT! We now look at Love's Labour's Lost, published in quarto, in 1598, as "corrected and augmented by W. Shakespere."
Being so deeply in earnest, taking his "study and meditation" so hard, I cannot see him as the author of Venus and Adonis, and whatever plays of the period, say, Love's Labour's Lost, The Two Gentlemen of Verona, Henry VI, Part I, are attributed to him, about this time, by Baconians. Of course my view is merely personal or "subjective." The Baconians' view is also "subjective."
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