Love’s Labour’s Lost centers around four young men, one of whom is King, and around their decision to reject outside influences such as women, sleep, and food in order to concentrate solely on study. However, their serious and noble attempt turns comical when the Princess of France arrives at the court with her ladies. The men immediately find themselves in love and secretly trying to court the women. The audience is amused at how quickly the men reject their vows, and at how each man thinks he is the only one in love, yet all four men stumble over themselves in an attempt to woo the ladies’ hearts. One of the mos

t comical scenes occurs when one after another, the King and his lords appear on stage and confess their love in what they believe is secrecy. However, after each one confesses and hides, he overhears the next. As Longaville confesses, he wonders: “Am I the first that have been perjured so?” (111). Berowne wittily replies in an aside, “I could put thee in comfort: not by two that I know.” (111). The audience is further amused when each man comes forward and righteously confronts the next man in his lie. The King, who has also confessed his love, comes forward and proclaims to Longaville and Dumanine that “I heard your guilty rhymes, observed your fashion, / … What will Berowne say when that he shall hear / Faith infringed, which such zeal did swear? / … For all the wealth that ever I did see, / I would not have him know so much by me.” (117-119). Berowne, of course, then steps forward and mocks the King: “Now step I forth to whip hypocrisy. / … O, what scene of fool’ry have I seen.” (119). In the end, each man is made out to be a fool and the audience is left amused at the men’s stupidity.

In Love’s Labour’s Lost, many of the most entertaining moments take place at the expense of the less-than-intelligent characters. Costard, a c

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