Original: I can but say their protestation over;
Modern: I can only repeat what they’ve already promised;

Original: So much, dear liege, I have already sworn,
Modern: My lord, I’ve already sworn this much,

Original: That is, to live and study here three years.
Modern: That is, to live and study here for three years.

Original: But there are other strict observances;
Modern: But there are other strict rules to follow;

Original: As, not to see a woman in that term,
Modern: Like not seeing any woman during that time,

Original: Which I hope well is not enrolled there;
Modern: Which I really hope isn’t written down there;

Original: And one day in a week to touch no food
Modern: And to eat no food one day each week

Original: And but one meal on every day beside,
Modern: And only one meal on all the other days,

Original: The which I hope is not enrolled there;
Modern: Which I hope isn’t written down there either;

Original: And then, to sleep but three hours in the night,
Modern: And then, to sleep only three hours each night,

Original: And not be seen to wink of all the day.
Modern: And not be caught napping at all during the day.

Original: When I was wont to think no harm all night
Modern: When I used to stay up all night without worry

Original: And make a dark night too of half the day.
Modern: And sleep through half the day as well.

Original: Which I hope well is not enrolled there:
Modern: Which I really hope isn’t written down there:

Original: O, these are barren tasks, too hard to keep,
Modern: Oh, these are pointless rules, too hard to follow,

Original: Not to see ladies, study, fast, not sleep!
Modern: No women, constant studying, fasting, no sleep!

In Act I, Scene 1 of “Love’s Labour’s Lost,” the King of Navarre presents his ambitious plan to transform his court into an academy of learning, where he and his three courtiers—Berowne, Longaville, and Dumaine—will dedicate themselves to three years of rigorous study. The King proposes they take an oath to fast once a week, sleep only three hours per night, and most significantly, avoid the company of women entirely during this period. He believes this scholarly retreat will bring them fame and honor that will outlast their mortal lives, making them “heirs of all eternity.”

Berowne immediately expresses skepticism about the proposed oath, particularly questioning the practicality and wisdom of forswearing women’s company. He argues that such extreme vows are likely to be broken and that denying natural human desires goes against reason. Despite his reservations and clever arguments about the futility of such restrictions, Berowne ultimately agrees to sign the oath along with his companions. However, the King then remembers a complication: they have a diplomatic obligation to receive the Princess of France and her retinue, which would violate their newly sworn oath against entertaining women at court.

“Love’s Labour’s Lost” opens with Ferdinand, the King of Navarre, and his three courtiers—Berowne, Longaville, and Dumain—taking a solemn oath to dedicate three years to scholarly pursuits while forswearing the company of women, fasting, and sleeping only three hours per night. Their noble intentions are immediately complicated by the arrival of the Princess of France and her three attending ladies—Rosaline, Maria, and Katharine—who come on a diplomatic mission regarding Aquitaine. Despite their vows, all four men quickly fall in love with the visiting ladies, though they initially attempt to hide their feelings from one another.

The romantic complications intensify when each man tries to secretly woo his chosen lady while believing himself to be the only oath-breaker. Comic relief is provided by a cast of eccentric characters including Don Armado, a bombastic Spanish knight who loves the country wench Jaquenetta; Costard, a simple clown; and the pedantic schoolmaster Holofernes. The ladies, aware of the men’s affections, decide to test their suitors’ sincerity by disguising themselves at a masque, leading to a delightful scene of mistaken identities where each man woos the wrong woman.

The play builds toward what seems like a conventional comic resolution with multiple betrothals, but Shakespeare subverts expectations in the final act. News arrives that the Princess’s father, the King of France, has died, casting a somber shadow over the festivities. The ladies impose a year-long trial on their suitors—the men must prove their love’s constancy through a period of good works and patient waiting. The play concludes unusually for a Shakespearean comedy, with promises of future union rather than immediate marriages, ending with the famous songs of Spring and Winter that celebrate the eternal cycle of seasons and human nature.