“A Pleasant Conceited Comedie called Loves labor's lost. As it was presented before her Highnes this last Christmas. Newly corrected and augmented. By W. Shakespeare. Imprinted at London by W. W., for Cuthbert Burby. 1598. 4to.” Such is the title of the first edition we possess of the present comedy. Whether any impression was published prior to the corrections and augmentations mentioned, or between the date of this quarto and the folio, 1623, has yet to be discovered. Like The Two Gentlemen of Verona, Love's Labour's Lost bears unmistakeable traces of Shakespeare's earliest style. We find in both, though in different degree, the same fluency and sweetness of measure, the same frequency of rhymes, the same laborious addiction to quibbling, repartees, and doggerel verse, and in both it is observable that depth of characterization is altogether subordinate to elegance and sprighthiness of dialogue. In the former, however, the wit and fancy of the poet are infinitely more subdued; the events are within the range of probability; and the humour, for the most part, is confined to the inferior personages of the story. But Love's Labour's Lost is an extravaganza for Le bon Roi, René, and the Court of Provence; “a humoursome display of frolic,” as Schlegel calls it, “in which every one is a jester; and the sparkles of wit fly about in such profusion that they resemble a blaze of fireworks; while the dialogue is in the same hurried style in which the masks at a carnival attempt to banter each other.”