Early Modern Drama · Character Archetypes

MARIA

in Love's Labor's Lost — Shakespeare, William

Metadata

PlayLove's Labor's Lost
AuthorShakespeare, William
Year (catalogued)1598
First performance1595
Decade1590s
GenreComedy
Play typeAdult Professional
CompanyLord Chamberlain's (Hunsdon's) Men
Theaterbefore the Court;
Speech prefix(es)Lady M • ria. | Maria. | Mar. | Mari. | Marg. | Ma. | 1. Lady.
Words239
Characters1256
Typicality0.34 (cosine to cluster centroid)
TCP idA68726
BritDrama no.1031
ClusterCluster 11 — Tosspots & tavern railers

Important excerpts

No keyword-matching excerpt could be extracted (the cluster label doesn't share vocabulary with this character's speech).

Full speech

That last is Berowne, the merry madcap L. Not a word with him but a jest. You still wrangle with her Boyet, and she strikes at the brow. A mark marvelous well shot, for they both did hit. Wide a'the bow hand, i'faith your hand is out. Dumaine was at my service, and his sword, No point (quoth I) my servant, straight was mute. Dumaine is mine as sure as bark on tree. At the twelvemonths end, I'll change my black Gown for a faithful friend. The liker you, few taller are so young. This, and these Pearl, to me sent Longauile. The Letter is too long by half a mile. I, or I would these hands might never partly. Lord how wise you are. With that face. So I herd you say. Fair weather after you. Come come, you talk greasely, your lips grow fowl. I know him Maddame at a marriage feast, Between L. Perigort and the bewtious heir Of Jaques Fauconbridge solemnized. In Normandy saw I this Longauill, A man of sovereign peerelsle he is esteemed: Well fitted in arts, glorious in arms: Nothing becomes him ill that he would well. The only soil of his fair virtues gloze, If virtues gloze will stain with any soil, Is a sharp Wit matched with too blunt a Will: Whose edge hath power to cut whose will still wills, It should none spare, that come within his power.

Plot summary

Plot — Love's Labor's Lost
The King of Navarre has proclaimed a three-year period of study during which his courtiers must live abstemiously and refrain from seeing women; no woman may even approach the court. Unfortunately the Princess of France is due to arrive on a diplomatic mission concerning a dispute over money and territory, and the King is forced to meet her; however, the evidence in support of France’s claim against Navarre has not arrived, and the issue is deferred. Costard is caught canoodling with Jaquenetta and is remitted to Don Armado’s custody. Armado is himself enamoured of Jaquenetta, and sends Costard to her with a love-letter. Biron also pays Costard to carry a similar letter to his love, Rosaline, and Costard mixes up the two letters. Armado’s causes amusement to the French ladies when they receive it; Biron’s causes embarrassment to himself when, directed by Holofernes, Jaquenetta brings it to the King just after Biron has attacked him and the other lords for falling in love. Biron argues the illegitimacy of their original vows, and they set about wooing the ladies, first with gifts, then by appearing in a masque of Russians. The ladies confound the latter by wearing masks themselves and swapping gifts so that each lord woos the wrong lady; they also refuse to dance. Don Armado and the locals offer the court a pageant of the Nine Worthies, devised by the schoolmaster: it is mocked by the lords and breaks up in confusion when Costard accuses Don Armado of fathering the pregnant Jaquenetta’s baby. News then arrives that the King of France is dead. The lords propose marriage to the ladies, who refuse: the court of France is in mourning, and the lords must wait a year; given particular conditions by their ladies, the King will spend it in a hermitage and Biron trying vainly to entertain dying men. The play ends with a song of winter and spring, the owl and the cuckoo.