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Updated: June 22, 2025
He had now revealed himself as an organizer for a new propaganda society, called "Labour's National Peace Council". Inasmuch as Labour and Peace were the phrases upon which Jimmie lived, he saw no reason why he should not back this organization. Coleman assured Jimmie he hated the Kaiser, but that the German "people" must be defended.
There was, indeed, a certain undeveloped idea held out that some of the duplicates of Fergus's precious collection might be arranged as a sample of the specimens of minerals and fossils of Rockquay at the long-talked-of sale of work. If a talent be a claw, look how he claws him with a talent. Love's Labour's Lost.
To Love's Labour's Lost, and the amusing things written about it by Baconians, I return; and to Shakespeare's "impossible" knowledge of courtly society, his "polish and urbanity," his familiar acquaintance with contemporary French politics, foreign proverbs, and "the gossip of the Court" of Elizabeth: these points are made by His Honour Judge Webb.
He imitated Lyly in Love's Labour's Lost, Greene in As You Like It, Marlowe in Richard III, Kyd in Hamlet, and Fletcher in The Tempest. He did the old thing better than the other men had done it, that is all. Yet this is greatly to Shakespeare's credit. He was wise enough to feel that what the crowd wanted, both in matter and in form, was what was needed in the greatest drama.
"Love's Labour's Lost" is filled with the same energy, and there it falls even more definitely into the scope of our subject, since it is a comedy in rhyme in which all men speak lyrically as naturally as the birds sing in pairing time. What the love of love is to the Shakespearean comedies, that other and more mysterious human passion, the love of death, is to "L'Aiglon."
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 theatres, and if Mr.
We do not expect war- chariots in Troilus and Cressida; it is when the author makes the bronze-clad Achaeans familiar with Plato and Aristotle that we are surprised. In Love's Labour's Lost we do not expect the author to introduce the manners of the early fifteenth century, the date of the affair of the 200,000 ducats.
Into the foremost cell come all the perceptions of sight, hearing, etc., and thus we have the opportunity for "Fantasy, That plays upon our eyesight," to freak it on us. The pedant, Holofernes, in Love's Labour's Lost, characteristically puts the origin of his good things in the ventricle of memory.
People who now and then have an attack of conscientious scruples about existences to which they may possibly stand in original relationship, can draw a sigh of relief. The responsibility is at any rate diminished, as the chances now are that they will be drawn into Labour's educating wheel; and then, too, the matter is in certain respects carried over into moral territory.
It is found in nearly all Elizabethan prose writers, and partially accounts for their general tendency to artificiality. Shakespeare satirizes euphuism in the character of Don Adriano of Love's Labour's Lost, but is himself tiresomely euphuistic at times, especially in his early or "Lylian" comedies. Lyly, by the way, did not invent the style, but did more than any other to diffuse it.
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