Love's Labour's Lost: Analysis of Major Characters
"Love's Labour's Lost" is a comedic play by William Shakespeare that explores themes of love, wit, and the folly of intellectual pursuits through its major characters. Central to the narrative is Berowne, a witty young lord who navigates the tension between romantic ideals and the practicality of love. He engages in playful wordplay and ultimately finds himself in a battle of wits with Rosaline, a clever lady-in-waiting who challenges him to balance his humor with genuine affection. King Ferdinand, the idealistic ruler of Navarre, attempts to dedicate himself to scholarly pursuits but quickly becomes enamored with the visiting princess of France, leading to a humorous clash between duty and desire.
Supporting characters such as Longaville and Dumaine also grapple with love, while the sharp-tongued Boyet and the boastful Don Adriano de Armado add layers of humor and complexity. The rustic clown Costard and the pedantic Holofernes provide comic relief, enriching the play's exploration of language and social class. Overall, the interplay among these characters highlights the whimsical nature of love and the amusing contradictions inherent in human relationships, making "Love's Labour's Lost" a vibrant examination of romantic pursuit and intellectual aspiration.
Love's Labour's Lost: Analysis of Major Characters
Author: William Shakespeare
First published: 1598
Genre: Play
Locale: Navarre, Spain
Plot: Comedy of manners
Time: Sixteenth century
Berowne (beh-REWN), a witty, sophisticated young lord in the court of King Ferdinand of Navarre. Although he joins his monarch's idealistic academy, he warns his companions of the folly of study for its own sake and advises them to seek wisdom in the contemplation of feminine beauty. He delights in words, exchanging puns and rhymes with his friends and waxing rhapsodic when he falls in love. He meets his match in Rosaline and swears that he will henceforth woo with “rustic yeas and honest kersey noes.” She orders him to temper his ironic wit with sympathy; he must spend the next year jesting in hospitals.
Rosaline (ROHZ-uh-lin), one of the charming ladies in waiting to the princess of France. Clever and sparkling, she whets her mind in verbal battles with Boyet and spars endlessly with Berowne, who is continually overcome by her wit. She is the first of William Shakespeare's bright, confident heroines, the prototype for Beatrice, Viola, Portia, and Rosalind.
Ferdinand, the king of Navarre, an idealistic young ruler who intends to win everlasting fame by establishing a Platonic academy devoted to study and ascetic living. The appearance of the princess of France on a diplomatic mission quickly disperses his noble goals as he and his lords promptly fall in love and turn their attention to sonnets, masques, and gifts. Brought suddenly to Earth by the news of the death of the princess' father, he affirms the seriousness of his love and promises to spend a year in a hermitage, as his lady requests, to prove the depth of his affection.
The princess of France, a dignified young woman who remains aware of her serious responsibilities while she delights in jesting with Boyet, her ladies, and the hunters, and in teasing the lovesick lords.
Longaville (LONG-uh-vihl) and Dumaine (dew-MAYN), Ferdinand's courtiers. They fall in love with Katharine and Maria when their king succumbs to the charms of the girls' mistress, the princess. Both are quick-witted young men and eloquently poetic lovers, a little bewildered by the wit and independence of their ladies.
Katharine and Maria, the princess' ladies, who gleefully torment their lovers with endless repartee, although they admit their romantic inclinations within their own circle.
Boyet (boy-EHT), a sharp-tongued courtier who accompanies the princess to Navarre and passes his time exchanging bawdy quips with her ladies.
Don Adriano de Armado (ah-dree-AH-noh deh ahrMAH-doh), a boastful Spanish soldier, a descendant of the braggart of the commedia dell'arte productions. He fancies himself a gallant courtier and amuses the lords and ladies with his fantastic phraseology and his elaborate dress, which only temporarily hides the fact that he is too poor to own a shirt. He embroiders his affair with the country wench, Jaquenetta, and almost convinces himself that it is a grande amour in the tradition of King Cophetua and the Beggar Maid of the old ballads.
Costard (KOS-turd), a rustic clown. He is fascinated by all the extravagant language he hears and takes great pleasure in using the long words of Armado and Berowne and the Latinisms of Holofernes and Sir Nathaniel.
Moth, Don Adriano's impudent page, who impishly taunts his master.
Holofernes (hol-uh-FUR-neez), the village schoolmaster, an incurable pedant. He prides himself on the excellence of his Latin and the precision of his pronunciation.
Sir Nathaniel, the curate, who admires Holofernes and joins him in snubbing their less learned fellow citizens, such as Costard and Dull, for their ignorance.
Dull, the constable. He can make no sense of the Latinate effusions of Holofernes and Sir Nathaniel and clings to his facts.
Jaquenetta (jak-eh-NEHT-uh), a country girl who is much admired by Don Adriano.