HISTORICAL NOTICE OF LOVE'S LABOR'S LOST. No traces have yet been discovered of any novel or tale from which the incidents of this comedy have been borrowed. The fable, however, does not appear to be a work of pure invention, and most probably is indebted for its origin to some romance, now no longer in existence. The character of Holofernes is supposed to be the portrait of an individual; and some of his quotations have induced commentators to infer, that John Florio, a pedantic teacher of Italian, was the object of the poet's satire. Malone conjectures that Love's Labor's Lost was first written in 1594, of which no exact transcript is preserved; for in the earliest edition which has hitherto been found of this play, namely that of 1598, it is said in the title page to be 'newly corrected and augmented,' with the farther information, that it had been 'presented before her highness the last Christmas ;' facts, which show, that we are in possession, not of the first draught or edition of this comedy, but only of that copy which represents it as it was revived and improved for the entertainment of Queen Elizabeth in 1597. That this was one of Shakspeare's earliest essays in dramatic writing is clearly proved by the frequent rhymes, the imperfect versification, and the irregularity of the composition. 'It must be confessed,' says Dr. Johnson, 'that there are many passages in this play mean, childish, and vulgar; and some which ought not to have been exhibited, as we are told they were, to a maiden queen. But there are scattered through the whole many sparks of genius; nor is there any play that has more evider marks of the hand of Shakspeare.' ARGUMENT. Ferdinand, king of Navarre, having devoted himself to the study of philosophy, prevails on three of his courtiers to renounce with him the pleasures of society; exacting an oath from each, that for the space of three years they would sedulously attend to the culture of their minds, separate themselves intirely from the company of females, and practise the utmost simplicity in their apparel and diet. At this critical juncture the princess of France arrives at the palace of Navarre on an embassy from the king her father, attended by three ladies in her train: her personal charms and mental endowments soon make a powerful impression on the heart of the secluded monarch; and he has the satisfaction of perceiving that his fellow students are not insensible to the attractions of the ladies of the French court; but are equally anxious with himself to obtain a dispensation of their rash vow. An immediate prosecution of their suit is now resolved on, which exposes them to the raillery of their mistresses, who, after reproaching the repentant devotees with their perjury, insist on subjecting the permanence of their attachments to the trial of a whole year; at the expiration of which period they consent to become their wives. BOYET, lords attending on the princess of France. MERCADE, DON ADRIANO DE ARMADO, a fantastical Spaniard. HOLOFERNES, a schoolmaster. COSTARD, a clown. MOTH, page to Armado. A FORESTER. Officers and others, attendants on the king and princess. SCENE, Navarre. |