Love's Labor's Lost: Satire 2 key examples

Holofernes complains that Armado draws out his arguments for too long. Armado lives in a fantasy world and is unsociable, overly precise, and exacting. For example, he cares too much about spelling (Holofernes offers several examples). Holofernes finishes by saying that Armado’s speech drives him nuts, and he says that Armado is insane (“Ne intelligis, domine? / To make frantic, lunatic”). 

Holofernes ironically complains about several perceived flaws he demonstrates himself, including fastidiousness. Holofernes, too, draws his arguments out at length. Equally, Holofernes is very exacting in his own critique of Armado. Just as he slights the lord for his obsession with spelling, he goes to great lengths to address each of Armado’s spelling mistakes letter by letter. Holofernes complains about Armado’s anti-social behavior while also incorporating Latin into his speech to alienate and intimidate his less well-read listeners.

Holofernes’s pedantic obsession with spelling, incorporation of Latin, and pretentious fault-finding all mock a small-minded attitude toward learning and knowledge. Holofernes takes Ferdinand’s perspective at the play’s beginning and takes it to its absolute end. He values book learning to the exclusion of all else, and he looks down on those who seem less educated. But Holofernes unintentionally reveals the silliness of his own position in this scene, as he criticizes much of the very behavior he exhibits. 

Nathaniel introduces himself as the “world’s commander,” a military leader who dominates all corners of the earth. Boyet immediately begins heckling him, pointing out that his nose is too straight to be Alexander’s. Berowne picks up the heckling and adds that Nathaniel smells too bad to be Alexander (in reference to Plutarch’s description of Alexander as “sweet-smelling”). Nathaniel falters and becomes embarrassed, leading the princess to note his discomfort and encourage him.

Many of the men in the play attempt to exude stereotypically masculine qualities of self-control, strength, and power. The men they choose to lionize in their pageant are a reflection of these values (hence the incorporation of Alexander, Julius Caesar, King Arthur, etc.). Nathaniel, however, appears timid and easily thrown off in his role as Alexander. His friends’ (hopefully) good-natured heckling drives him to distraction and eventually leads to him wander offstage. Appearances sit in clear and intentional tension with reality, and normal men are unable to live up to the larger than life construction of masculinity captured in the image of Alexander.

The sharp contrast between the reality of who Nathaniel is, and the figure he is meant to represent, pokes fun at the ideals behind the pageant. The satire continues through the scene as the men stumble through their lines, and even sabotage one another (as when Costard announces that Jacquenetta is pregnant with Armado’s child). The silliness of these ideals is reflected in how impossible they are for the men to perform.