Skip to main content

All the Bloody Shakespeare: Love's Labour 's Lost

Imagine this four times over but with letters instead of conversations and Elizabethan hygiene standards.


I was quite excited to read Love's Labour's Lost, it starts really well.  The king and his three mates all swear off women for three years to pursue academic interests and higher purposes.  Oh, and the king makes it law that everyone else has to do the same for ease of plot development.  It's all going well until a princess / potential queen shows up with her exactly three friends.

There's a lot of potential here, and we see an immediate step up in terms of the quality of writing.  You know those nut jobs who think all Shakespeare's plays were written by different people? Well, I almost thought they had a point for a minute.  Almost every phrase the king utters is profound and well-composed.  This can't be written by the same bloke that wrote Two Gentlemen of Verona, I erroneously posited.

Then we get Costard (a clown).  Costard has already broken the 'no birds allowed' rule which allows him to work as an intermediary between the celibate cast and their intended loves.  

But also, he is there to carry on Shakespeare's weirdly sexual obsession with sheep.  To deliver some (actually quite funny) Benny Hill style poetic asides*, and to take another needless pop at the Jews.  He's basically Launce again, but with tighter material.  

There are four things you can take away from Costard.  
 1.     Shakespeare couldn't spell custard.  
 2.  Shakespeare was WAY into sheep.
 3.  Shakespeare did get better at writing as he went along.
 4.  Shakespeare was a determined anti-semite.

Aside from Costard, there is lots of letter sending (again).   The blokes all try way too hard and make themselves look like idiots, and the women get to laugh at them, which is a definite step forward.  Another step forward is that the servants are allowed to intelligent and insightful human beings as opposed to one joke whipping posts.

Love's Labour 's Lost is the ultimate 'will they won't they' romantic comedy.  It first asks, won't they? Then asks, will they? Then concludes by saying they will unless it turns out that they won't.

The ending has everyone falling in love but unable to marry for another year due to the still ongoing 'no birds allowed' rule.  Which is a pretty crummy and unsatisfying conclusion.  Some people think that there may have been a sequel called Love's Labour's Won.  But a lot of other people think there wasn't, or if there was it had to be destroyed because of witches or aliens or something.

3/5 It's the best one so far.

*Aside: Costard's poetry lacks both the metric sophistication and linguistic range of Hill's efforts.  But, he is writing hundreds of years after Shakespeare so we'll give Shakey a pass on that.

Interestingly, many of the same people who condemn Hill for his 60s/70s misogyny / racial stereotyping are more than happy to defend both Shakespeare and Monty Python.  Both of whom are steeped in the same elements.  Ben Elton (who led the media charge against Hill) and Curtis' Upstart Crow is basically a series of apologetic sequences of idolisation and justification.  Shakespeare gets a pass because the middle class hold him as sacred. Likewise the Pythons.  Hill is a common oik, so nobody influential is about to leap to his defence.

In the interest of transparency, I like both Hill and Python.  Though they're both as bad as Shakespeare.

Comments

Popular posts from this blog

Flash Fiction: The Words and the Nausea

A theory gaining some ground in the scientific community is that the whole universe is an artificial creation, like a computer game or the Matrix. There are, apparently, lines of code in the fabric of the universe that make this a dead give away (philosophically speaking).  The chances are that we all live in some cosmological playpen, like the Holodeck in Star Trek the Next Generation. And, yes the holograms became sentien t and have started to kill each other. The truly terrifying aspect of this concept is not that the thought that all life is meaningless and without purpose, or even that all of our suffering (the one thing we can truly hold sacrosanct) is for nothing. The truly terrifying aspect is the thought that I may have become stuck on the second level, got bored and spent my whole life playing the mini-games. None of this really concerned me much until one day as I was on my way to Tesco, I saw the evidence of it. In giant twelve-foot letters, covering both cloud and vapo...

All the Bloody Shakespeare - Measure for Measure

  Measure for Measure and the best joke in Shakespeare Right let’s get this out of the way, I have never read a Shakespeare play cover to cover and finished it thinking that’s a great read. I’ll read that again for fun. Then I read Measure for Measure. I think I can say without hyperbole that Measure for Measure is Shakespeare’s most relevant play. You can talk about your universal themes in the great tragedies – fate, revenge, ambition, failure but Measure for Measure has specific themes that are so dead on the nose they could have been written a few weeks ago. Measure for Measure is a play about sexual misconduct and corrupt powerful men. It’s a play about how a legal system becomes corrupt when everyone working in it shares the same corrupt values. It takes those two ideas and tackles them in-depth.  Mercifully, loads of other people have picked up on this and you can be spared my thoughts on the matter. If you’re interested just google Measure for Measure #metoo....

All the bloody Shakespeare: A Comedy of Errors

Different personalities, it's this easy. A Comedy of Errors seems like an odd play to open the Complete Works of Shakespeare with.  First of all, it's not very funny.  Second of all, it's a bit of a mess. The basic idea is a lot like Van Damme's Double Impact, identical twins (separated at birth) show up in the same area and their easily mistaken identity causes a sequence of needless conflicts.  That said, it is a lot less structured than Double Impact and has a much less gratifying conclusion.  The twins in Double Impact defeat a crime syndicate, all the two Antipholus brothers manage is figuring out they're brothers.  And they don't even figure that out, their dad tells them. Shakespeare wastes some good opportunities for comedy and depth by having one Antipholus attracted to the other's sister in law rather than his shrew of a wife. And, disappointingly, nothing comes of that either. Additionally, the two Antipholus brothers are pretty much carbon copi...