Original: Why, all his behaviors did make their retire
Modern: All of his usual mannerisms disappeared

Original: To the court of his eye, peeping thorough desire:
Modern: And gathered in his eyes, which were filled with longing:

Original: His heart, like an agate, with your print impress’d,
Modern: His heart, like a precious stone, was marked with your image,

Original: Proud with his form, in his eye pride express’d:
Modern: Showing pride in your beauty, which his eyes clearly revealed:

Original: His tongue, all impatient to speak and not see,
Modern: His tongue was so eager to speak instead of just looking,

Original: Did stumble with haste in his eyesight to be;
Modern: That it stumbled in its rush to catch up with what his eyes were seeing;

Original: All senses to that sense did make their repair,
Modern: All of his other senses rushed to join his sense of sight,

Original: To feel only looking on fairest of fair:
Modern: Just to experience looking at the most beautiful of all beauties:

Original: Methought all his senses were lock’d in his eye,
Modern: I thought all of his senses were trapped in his eyes,

Original: As jewels in crystal for some prince to buy;
Modern: Like precious gems displayed in crystal for a prince to purchase;

Original: Who, tendering their own worth from where they were glass’d,
Modern: These senses, showing their value from behind his eyes,

Original: Did point you to buy them, along as you pass’d:
Modern: Seemed to point at you to buy them as you walked by:

Original: His face’s own margent did quote such amazes
Modern: The edges of his face showed such wonder

Original: That all eyes saw his eyes enchanted with gazes.
Modern: That everyone could see his eyes were completely captivated by looking at you.

Original: I’ll give you Aquitaine and all that is his,
Modern: I’ll give you the region of Aquitaine and everything he owns,

Original: An you give him for my sake but one loving kiss.
Modern: If you’ll give him just one loving kiss for my sake.

In this passage from Act II, Scene 1 of “Love’s Labour’s Lost,” the King of Navarre approaches the Princess of France and her ladies after their initial formal exchange. The King attempts to offer the Princess and her retinue accommodation within his court, explaining that he would gladly house them in his palace were it not for his oath that forbids women from entering his court grounds. He expresses regret at this restriction and asks for her understanding of his position, emphasizing that the oath prevents him from extending proper hospitality as he would wish.

The Princess responds graciously to the King’s explanation, acknowledging that she has heard of his scholarly vow and the academic pursuits he has undertaken with his companions. She expresses understanding of his situation and indicates that she and her ladies are prepared to lodge elsewhere, accepting the arrangements that his oath necessitates. The exchange demonstrates the courteous negotiation between the two parties as they navigate the practical complications created by the King’s vow of study and the diplomatic requirements of the Princess’s visit to discuss the matter of Aquitaine.

“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.