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Love's Labour's Lost (Theatre)
- 305 statements
- 59 feature instances
- 27 referencing feature instances
| Love's Labour's Lost (Theatre) | type |
TVTItem | |
| Love's Labour's Lost (Theatre) | label |
Love's Labour's Lost (Theatre) | |
| Love's Labour's Lost (Theatre) | page |
LovesLaboursLost | |
| Love's Labour's Lost (Theatre) | comment |
As the play is Older Than Steam and most twists in Shakespeare's plots are now widely known, all spoilers on this page are unmarked.Love's Labour's Lost is one of William Shakespeare's earliest plays, possibly his first comedy. The King of Navarre and his attendant lords make a vow to devote themselves to scholarship and put away interest in women for three years—just before the Princess of France and her attendant ladies arrive for a visit. Hilarity Ensues.It's not among Shakespeare's most popular plays. This may be largely due to the style, which has been described as "flamboyantly intellectual", full of wordplay and references to contemporary scholarly interests, many of which have not dated well. The script is 90% poetry and jokes and 10% plot. Also, for a romantic comedy it has a romantically-unsatisfying ending, with all the lovers separated, to (maybe) be reunited in the future.This latter point probably fed the popularity of the rumor/theory (depending on your view) that Shakespeare wrote a now-lost sequel titled Love's Labour's Wonnote at least two records exist of a "Love's Labour's Won" by Shakespeare, though it's also speculated this may be an alternative title of an existing work, usually thought to be either Much Ado About Nothing, The Taming of the Shrew, or The Merchant of Venice.There was a film adaptation in 2000, directed by and starring Kenneth Branagh as well as Nathan Lane, Allesandro Nivolla, Alicia Silverstone, Timothy Spall, and Adrian Lester. The film reinterpreted the play as a 1920-style screwball musical. | |
| Love's Labour's Lost (Theatre) | fetched |
2023-06-05T19:00:25Z | |
| Love's Labour's Lost (Theatre) | parsed |
2023-06-05T19:00:25Z | |
| Love's Labour's Lost (Theatre) | processingComment |
Dropped link to CallBack: Not a Feature - ITEM | |
| Love's Labour's Lost (Theatre) | processingComment |
Dropped link to TheMusical: Not a Feature - ITEM | |
| Love's Labour's Lost (Theatre) | isPartOf |
DBTropes | |
| Love's Labour's Lost (Theatre) / int_113472aa | type |
Miles Gloriosus | |
| Love's Labour's Lost (Theatre) / int_113472aa | comment |
Miles Gloriosus: Don Armado. | |
| Love's Labour's Lost (Theatre) / int_113472aa | featureApplicability |
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| Love's Labour's Lost (Theatre) | hasFeature |
Love's Labour's Lost (Theatre) / int_113472aa | |
| Love's Labour's Lost (Theatre) / int_13871049 | type |
Hakuna Matata | |
| Love's Labour's Lost (Theatre) / int_13871049 | comment |
Hakuna Matata: "I'd Rather Charleston" | |
| Love's Labour's Lost (Theatre) / int_13871049 | featureApplicability |
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| Love's Labour's Lost (Theatre) | hasFeature |
Love's Labour's Lost (Theatre) / int_13871049 | |
| Love's Labour's Lost (Theatre) / int_17501df2 | type |
Cool Old Guy | |
| Love's Labour's Lost (Theatre) / int_17501df2 | comment |
Cool Old Guy: Boyet (although, like all Elizabethan Cool Old Guys, also something of a Dirty Old Man). Some productions, however, cast a younger actor - or even a woman - in the role. | |
| Love's Labour's Lost (Theatre) / int_17501df2 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_17501df2 | |
| Love's Labour's Lost (Theatre) / int_2171fd57 | type |
I'm a Man; I Can't Help It | |
| Love's Labour's Lost (Theatre) / int_2171fd57 | comment |
I'm a Man; I Can't Help It: In his Establishing Character Moment at the beginning, Berowne gives a whole speech about this as his "excuse" for possibly breaking his oath. As he predicts, this trope turns out to be true of all the other guys in the play as well. | |
| Love's Labour's Lost (Theatre) / int_2171fd57 | featureApplicability |
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| Love's Labour's Lost (Theatre) | hasFeature |
Love's Labour's Lost (Theatre) / int_2171fd57 | |
| Love's Labour's Lost (Theatre) / int_222969af | type |
All There in the Script | |
| Love's Labour's Lost (Theatre) / int_222969af | comment |
All There in the Script: Ferdinand, King of Navarre is never actually called "Ferdinand" except in dialogue tags and stage directions, so you can watch the entire play and never find out his first name. | |
| Love's Labour's Lost (Theatre) / int_222969af | featureApplicability |
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Love's Labour's Lost (Theatre) / int_222969af | |
| Love's Labour's Lost (Theatre) / int_22cf536c | type |
Chekhov's Gun | |
| Love's Labour's Lost (Theatre) / int_22cf536c | comment |
Chekhov's Gun: Berowne mentions in Act I scene 1 that the Princess's father is "decrepit, sick, and bedrid." His illness never comes up again until he dies a few minutes from the end and screws up everything. | |
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Love's Labour's Lost (Theatre) / int_22cf536c | |
| Love's Labour's Lost (Theatre) / int_26b2747 | type |
Alliterative Title | |
| Love's Labour's Lost (Theatre) / int_26b2747 | comment |
Alliterative Title: Love's Labour's Lost. | |
| Love's Labour's Lost (Theatre) / int_26b2747 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_26b2747 | |
| Love's Labour's Lost (Theatre) / int_328b32 | type |
Unequal Pairing | |
| Love's Labour's Lost (Theatre) / int_328b32 | comment |
Unequal Pairing: Don Armado is head over heels in love with Jaquenetta, who is a maid. Not a maid as in "unmarried virgin girl", but maid as in servant. | |
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Love's Labour's Lost (Theatre) / int_328b32 | |
| Love's Labour's Lost (Theatre) / int_3371361d | type |
Fast-Forward to Reunion | |
| Love's Labour's Lost (Theatre) / int_3371361d | comment |
Fast-Forward to Reunion: This is added to Shakespeare's original play; the lovers' parting is followed by a montage of the characters experiencing World War II before being joyfully reunited after the war. | |
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Love's Labour's Lost (Theatre) / int_3371361d | |
| Love's Labour's Lost (Theatre) / int_34889673 | type |
Gender Flip | |
| Love's Labour's Lost (Theatre) / int_34889673 | comment |
Gender Flip: Holofernes is transformed into Holofernia, played by Geraldine McEwan. | |
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Love's Labour's Lost (Theatre) / int_34889673 | |
| Love's Labour's Lost (Theatre) / int_415b3315 | type |
Stylistic Suck | |
| Love's Labour's Lost (Theatre) / int_415b3315 | comment |
Stylistic Suck: The "Nine Worthies" isn't exactly Tony-award material. The men trying to play the roles get lines wrong and repeat themselves and are heckled throughout by their audience. | |
| Love's Labour's Lost (Theatre) / int_415b3315 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_415b3315 | |
| Love's Labour's Lost (Theatre) / int_4192763e | type |
Malaproper | |
| Love's Labour's Lost (Theatre) / int_4192763e | comment |
Malaproper: Costard does not know what "remuneration" means, thinking it's a specific value. He earlier believes that "emolument" is another way to say "three farthings" because that was the amount of the emolument that Armado gave him. | |
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Love's Labour's Lost (Theatre) / int_4192763e | |
| Love's Labour's Lost (Theatre) / int_41be2c1b | type |
Spoiler Title | |
| Love's Labour's Lost (Theatre) / int_41be2c1b | comment |
Spoiler Title: Wait, you mean all the courting didn't work out? Who could have seen that coming? | |
| Love's Labour's Lost (Theatre) / int_41be2c1b | featureApplicability |
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Love's Labour's Lost (Theatre) / int_41be2c1b | |
| Love's Labour's Lost (Theatre) / int_420a8323 | type |
Smart Ball | |
| Love's Labour's Lost (Theatre) / int_420a8323 | comment |
Costard has a moment, too. The fact that he knows the word "Honorificabilitudinitatibus"—and can say it correctly—calls his "bumbling, uneducated country guy" status somewhat into question. | |
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Love's Labour's Lost (Theatre) / int_420a8323 | |
| Love's Labour's Lost (Theatre) / int_434d893c | type |
Funny Foreigner | |
| Love's Labour's Lost (Theatre) / int_434d893c | comment |
Funny Foreigner: Don Armado, which is acknowledged in the dialogue itself. King Ferdinand describes him as a "child of fancy" and says that Armado's mannerisms and conversation will provide enough minstrelsy to compensate for otherwise being secluded for three years. Individual performances can play this up by having his accent turn him into The Malaproper (the 2015 RSC performance had him constantly pronouncing "peace" as piss). | |
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Love's Labour's Lost (Theatre) / int_434d893c | |
| Love's Labour's Lost (Theatre) / int_48b9731f | type |
Paper-Thin Disguise | |
| Love's Labour's Lost (Theatre) / int_48b9731f | comment |
Paper-Thin Disguise: Played with. The king and his courtiers dress up as Muscovites to try and woo the Princess and her ladies. The ladies, having been warned by Boyet that this will happen, disguise themselves and swap tokens with each other to misdirect each man to the wrong love interest. | |
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Love's Labour's Lost (Theatre) / int_48b9731f | |
| Love's Labour's Lost (Theatre) / int_48c99e19 | type |
Death by Adaptation | |
| Love's Labour's Lost (Theatre) / int_48c99e19 | comment |
Death by Adaptation: Boyet is shown being killed in action during the epilogue; everyone else is reunited afterwards. | |
| Love's Labour's Lost (Theatre) / int_48c99e19 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_48c99e19 | |
| Love's Labour's Lost (Theatre) / int_54367e5d | type |
Mathematician's Answer | |
| Love's Labour's Lost (Theatre) / int_54367e5d | comment |
Mathematician's Answer: Boyet's responses to Longaville's queries about Maria. When Longaville says he desires the lady's name, Boyet says that she's already using it. When asked whose daughter she is, he replies "her mother's, I hear." | |
| Love's Labour's Lost (Theatre) / int_54367e5d | featureApplicability |
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Love's Labour's Lost (Theatre) / int_54367e5d | |
| Love's Labour's Lost (Theatre) / int_59275ef7 | type |
Chromatic Arrangement | |
| Love's Labour's Lost (Theatre) / int_59275ef7 | comment |
Chromatic Arrangement: Each of the four main couples has an associated color for the woman's dress and the man's buttonhole ribbon or tie: red for the King and the Princess, blue for Berowne and Rosaline, green for Longaville and Maria, and orange for Dumaine and Katherine. | |
| Love's Labour's Lost (Theatre) / int_59275ef7 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_59275ef7 | |
| Love's Labour's Lost (Theatre) / int_5941d75 | type |
Beta Couple | |
| Love's Labour's Lost (Theatre) / int_5941d75 | comment |
Beta Couple: This adaptation adds to the five couples of the original play a Zeta couple in Nathanial and Holofernia. | |
| Love's Labour's Lost (Theatre) / int_5941d75 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_5941d75 | |
| Love's Labour's Lost (Theatre) / int_5a40d6a | type |
Adaptation Distillation | |
| Love's Labour's Lost (Theatre) / int_5a40d6a | comment |
Adaptation Distillation: Most of the original play was cut. | |
| Love's Labour's Lost (Theatre) / int_5a40d6a | featureApplicability |
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Love's Labour's Lost (Theatre) / int_5a40d6a | |
| Love's Labour's Lost (Theatre) / int_6566a884 | type |
My God, You Are Serious! | |
| Love's Labour's Lost (Theatre) / int_6566a884 | comment |
My God, You Are Serious!: The Princess is shocked to receive a sincere proposal from Ferdinand. His courtiers' antics were so silly that she and her ladies took them for a game of flirtation rather than a serious love—which is upsetting to Ferdinand and Longaville, who felt that their words and looks did not speak of jest. However, they do consider the gentlemen as serious suitors once they do know. | |
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Love's Labour's Lost (Theatre) / int_6566a884 | |
| Love's Labour's Lost (Theatre) / int_6977c45e | type |
Purple Prose | |
| Love's Labour's Lost (Theatre) / int_6977c45e | comment |
Purple Prose: Don Armado writes and speaks in a combination of this trope, Gratuitous Latin and Department of Redundancy Department. It's an incredible thing to behold. As mentioned above, this is possibly an allusion to euphuism, a patterned prose style popularized by John Lyly in the 1580s. | |
| Love's Labour's Lost (Theatre) / int_6977c45e | featureApplicability |
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Love's Labour's Lost (Theatre) / int_6977c45e | |
| Love's Labour's Lost (Theatre) / int_7043a964 | type |
Grammar Nazi | |
| Love's Labour's Lost (Theatre) / int_7043a964 | comment |
Grammar Nazi: Holofernes complains at length about silent letters, insisting on pronouncing the b in debt and the l in calf. He also wants to do a line-by-line revision of Berowne's verses when Jaquenetta asks him to read them out (having been given them by mistake). | |
| Love's Labour's Lost (Theatre) / int_7043a964 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_7043a964 | |
| Love's Labour's Lost (Theatre) / int_72f992e4 | type |
No Loves Intersect | |
| Love's Labour's Lost (Theatre) / int_72f992e4 | comment |
No Loves Intersect: Each of the four ladies gets, and returns, the affection of exactly one of the four men in the King's study group. | |
| Love's Labour's Lost (Theatre) / int_72f992e4 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_72f992e4 | |
| Love's Labour's Lost (Theatre) / int_76b4b7dd | type |
The Comically Serious | |
| Love's Labour's Lost (Theatre) / int_76b4b7dd | comment |
The Comically Serious: Holofernes takes himself so seriously, treating every conversation as a matter of weighty academic import, that he quickly becomes absurd. | |
| Love's Labour's Lost (Theatre) / int_76b4b7dd | featureApplicability |
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Love's Labour's Lost (Theatre) / int_76b4b7dd | |
| Love's Labour's Lost (Theatre) / int_7a2aba81 | type |
Exposition | |
| Love's Labour's Lost (Theatre) / int_7a2aba81 | comment |
Exposition: Done in the form of a newsreel several times throughout the movie, in order to cover some of the information cut from the original play. | |
| Love's Labour's Lost (Theatre) / int_7a2aba81 | featureApplicability |
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Love's Labour's Lost (Theatre) / int_7a2aba81 | |
| Love's Labour's Lost (Theatre) / int_7e0bdc30 | type |
Weddings for Everyone | |
| Love's Labour's Lost (Theatre) / int_7e0bdc30 | comment |
Weddings for Everyone: Averted. The play is a comedy, which means technically it has to end with weddings, except everyone wants to get married and can't for completely non-tragedy reasons. | |
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Love's Labour's Lost (Theatre) / int_7e0bdc30 | |
| Love's Labour's Lost (Theatre) / int_7e676cdf | type |
Engagement Challenge | |
| Love's Labour's Lost (Theatre) / int_7e676cdf | comment |
Engagement Challenge: The play ends with these. The Princess and her court will be in mourning for her father for a year and a day, so she asks Ferdinand to spend that time in a hermitage living in true privation. If he still loves her after that, she will marry him. Rosaline sets a challenge to Berowne to spend his year in a hospital, using his wit and humor to cheer up the sick. Although he initially says it's an impossible task, he agrees to do so. | |
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Love's Labour's Lost (Theatre) / int_7e676cdf | |
| Love's Labour's Lost (Theatre) / int_86ee8070 | type |
World of Ham | |
| Love's Labour's Lost (Theatre) / int_86ee8070 | comment |
World of Ham: Done on purpose, as a sendup of classic musicals and screwball comedies from the 1930s. | |
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Love's Labour's Lost (Theatre) / int_86ee8070 | |
| Love's Labour's Lost (Theatre) / int_89a17726 | type |
Spell My Name with an S | |
| Love's Labour's Lost (Theatre) / int_89a17726 | comment |
Spell My Name with an S: Berowne is spelled "Biron" in some editions of the script, which to modern English speakers looks like it should be pronounced "by-ron" thanks to pronunciations shifting since the time Shakespeare wrote in. | |
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Love's Labour's Lost (Theatre) / int_89a17726 | |
| Love's Labour's Lost (Theatre) / int_8a55a1d4 | type |
In Love with Love | |
| Love's Labour's Lost (Theatre) / int_8a55a1d4 | comment |
In Love with Love: Ferdinand and his gentlemen give the impression that they're enjoying the agonies of being lovestruck against their oath a bit more than the actual ladies they're trying to woo. This leads the Princess and her ladies to treat it as a big game, and she confesses her surprise that they were actually serious when Ferdinand proposes in earnest. | |
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Love's Labour's Lost (Theatre) / int_8a55a1d4 | |
| Love's Labour's Lost (Theatre) / int_8d0785d5 | type |
Didn't Think This Through | |
| Love's Labour's Lost (Theatre) / int_8d0785d5 | comment |
Didn't Think This Through: As Berowne points out, the male courtiers have just signed a pledge to shun female society on the very eve of an extremely important visit from the French princess during which the ownership of Aquitaine is to be discussed. Ferdinand had quite forgotten it. | |
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Love's Labour's Lost (Theatre) / int_8d0785d5 | |
| Love's Labour's Lost (Theatre) / int_95d67d24 | type |
Get Thee to a Nunnery | |
| Love's Labour's Lost (Theatre) / int_95d67d24 | comment |
Get Thee to a Nunnery: There are about four puns on the word "light", the most obscure of which is probably the implication that a "light woman" is promiscuous. Knowing the different meanings makes the argument between Katherine and Rosaline at the beginning of Act 5, Scene 2 funnier, but also hints at cattiness. | |
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Love's Labour's Lost (Theatre) / int_95d67d24 | |
| Love's Labour's Lost (Theatre) / int_970b51b6 | type |
Adaptational Diversity | |
| Love's Labour's Lost (Theatre) / int_970b51b6 | comment |
Adaptational Diversity: The first record of this trope in a Kenneth Branagh film, beating his Hercule Poirot series by seventeen years, and perhaps the first major case of this in a Shakespeare production, the film features a gender flipped Holofernes, renamed Holofernia, and a black Maria and Dumaine. | |
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Love's Labour's Lost (Theatre) / int_970b51b6 | |
| Love's Labour's Lost (Theatre) / int_98810274 | type |
Tree Cover | |
| Love's Labour's Lost (Theatre) / int_98810274 | comment |
Tree Cover: The original stage directions is for the four court gentlemen to hide from each other behind trees, while Berowne is up one. | |
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Love's Labour's Lost (Theatre) / int_98810274 | |
| Love's Labour's Lost (Theatre) / int_9bc66bb1 | type |
Belated Happy Ending | |
| Love's Labour's Lost (Theatre) / int_9bc66bb1 | comment |
Belated Happy Ending: The lovers farewell each other at the end of the original play, but the film continues after this with a silent newsreel footage montage of the characters undergoing World War II, and after the war is over, it is shown that most of the characters have survived and all of the lovers are happily re-united. | |
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Gratuitous Latin | |
| Love's Labour's Lost (Theatre) / int_a448674 | comment |
Gratuitous Latin: Used frequently (mostly from Holofernes), often with a Genius Bonus or two. (In fact, all those obscure references—meant for its target audience of Elizabethan college students—have lead to the play's obscurity in modern times, as it's rarely chosen by directors for performance.) Moth lampshades this trope: | |
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Mood Whiplash | |
| Love's Labour's Lost (Theatre) / int_a4c37cbe | comment |
Mood Whiplash: Right at the end. A messenger from France walks right into the Nine Worthies performance, prompting the Princess to ask why he's interrupting their merriment. The answer is that her father has passed away. | |
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MacGuffin | |
| Love's Labour's Lost (Theatre) / int_a6c69bd | comment |
MacGuffin: The French Princess is there to discuss the matter of Aquitaine. They do discuss it in their first meeting, but mostly, it's a way to force Ferdinand to admit a woman to his court (because he can't exactly put off or fob off a royal heir visiting to discuss a major territorial dispute). | |
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Spell My Name with a "The" | |
| Love's Labour's Lost (Theatre) / int_aa8d0ef0 | comment |
Spell My Name with a "The": Costard's part in the Nine Worthies play—"Pompey, surname The Great." | |
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Setting Update | |
| Love's Labour's Lost (Theatre) / int_af4d6174 | comment |
Setting Update: World War II | |
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Hypocritical Humor | |
| Love's Labour's Lost (Theatre) / int_b707726f | comment |
Hypocritical Humor: The sonnet-writing scene. Each man arrives to compose a love-sonnet in secret—Berowne, the King, Longaville, and Dumain, with each previous man hiding from the new arrivals. The King reveals himself first after listening to Longaville and Dumain, chastising them both for harboring secret thoughts of love in violation of their oath. Then Berowne "steps forth to whip hypocrisy." He lords it over the other three for a speech or two, and then Costard turns up to return Berowne's own sonnet to sender. | |
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Relationship Sabotage | |
| Love's Labour's Lost (Theatre) / int_bbdafd63 | comment |
Relationship Sabotage: Armado tattles on Costard for having a dalliance with Jaquenetta because Armado wants to court Jaquenetta himself. | |
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Mouthy Kid | |
| Love's Labour's Lost (Theatre) / int_bd08288f | comment |
Mouthy Kid: Moth often mouths off to the adults, and to Don Armado in particular. | |
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Honorable Marriage Proposal | |
| Love's Labour's Lost (Theatre) / int_bd0af87b | comment |
Honorable Marriage Proposal: Don Armado gets Jaquenetta pregnant and pledges himself to her at the end of the play, showing that he isn't all talk. | |
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Perfectly Cromulent Word | |
| Love's Labour's Lost (Theatre) / int_bdbfd01c | comment |
Perfectly Cromulent Word: Honorificabilitudinitatibus (the longest word in the play). It means "the state of being able to achieve honors". It's not used as an adjective; rather, Costard jokes that Holofernes and Sir Nathaniel might use Moth as a snack because he is shorter than the kinds of words the two windbags have been tossing around. | |
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Show Within a Show | |
| Love's Labour's Lost (Theatre) / int_c2393191 | comment |
Show Within a Show: The "Nine Worthies." | |
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I Will Wait for You | |
| Love's Labour's Lost (Theatre) / int_c8d6d621 | comment |
I Will Wait for You: None of the lovers end up together at the end of the play, but they each promise that they will wait for each other for a year. | |
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Love Letter Lunacy | |
| Love's Labour's Lost (Theatre) / int_ca855eaf | comment |
Love Letter Lunacy: Played for laughs. Armado sends a love letter to Jaquenetta, while Berowne sends one to Rosaline. Costard, who's tasked to deliver them, delivers Rosaline's letter to Jaquenetta. | |
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No Name Given | |
| Love's Labour's Lost (Theatre) / int_ca87e3ec | comment |
No Name Given: The French princess is never named, even in the script, as anything other than "the Princess". | |
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Unfortunate Names | |
| Love's Labour's Lost (Theatre) / int_dd45df38 | comment |
Unfortunate Names: The local constable introducing himself thus: "I am Dull." Never let it be said that no joke was too obvious for Shakespeare. | |
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| Love's Labour's Lost (Theatre) / int_de19df2b | type |
The Matchmaker | |
| Love's Labour's Lost (Theatre) / int_de19df2b | comment |
The Matchmaker: Boyet gleefully enters into the mischief by helping the French ladies woo, spy on, and trifle with the affections of the king and his men | |
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Final Love Duet | |
| Love's Labour's Lost (Theatre) / int_e25ae563 | comment |
Final Love Duet: "They Can't Take That Away from Me" | |
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| Love's Labour's Lost (Theatre) / int_ef20dac5 | type |
Servile Snarker | |
| Love's Labour's Lost (Theatre) / int_ef20dac5 | comment |
Servile Snarker: Moth to Don Armado. | |
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Crowd Song | |
| Love's Labour's Lost (Theatre) / int_f16f631d | comment |
Crowd Song: "No Business Like Show Business" | |
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Sesquipedalian Loquaciousness | |
| Love's Labour's Lost (Theatre) / int_f1d3f0c9 | comment |
Sesquipedalian Loquaciousness: Don Armado, who loves making everything he says grand. Holofernes never misses a chance to use ten fancy words when one regular would do just as nicely. Costard has a moment, too. The fact that he knows the word "Honorificabilitudinitatibus"—and can say it correctly—calls his "bumbling, uneducated country guy" status somewhat into question. | |
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Department of Redundancy Department | |
| Love's Labour's Lost (Theatre) / int_fc151e9d | comment |
Department of Redundancy Department: Nearly every word spoken by Don Armado, Holofernes and Nathaniel. Especially Don Armado. Some scholars view this as evidence of the influence of the euphuistic style of John Lyly, the first English novelist and a dramatist in his own right. | |
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Love's Labour's Lost (Theatre) |
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