Editing Love's Labour's Lost (section)

====Reckoning and rationalization====
The term 'reckoning' is used in its multiple meanings throughout the Shakespeare canon.<ref name=Lewis>{{cite journal|last=Lewis|first=Cynthia|title='We Know What We Know': Reckoning in Love's Labor's Lost|journal=Studies in Philology|year=2008| volume=105| issue=2| pages=245–264| doi=10.1353/sip.2008.0008|s2cid=159766371}}</ref> In ''Love's Labour's Lost'' in particular, it is often used to signify a moral judgement; most notably, the idea of a final reckoning as it relates to death. Though the play entwines fantasy and reality, the arrival of the messenger to announce the death of the Princess's father ultimately brings this notion to a head. Scholar Cynthia Lewis suggested that the appearance of the final reckoning is necessary in reminding the lovers of the seriousness of marriage.<ref name=Lewis/> The need to settle the disagreement between Navarre and France likewise suggests an instance of reckoning, though this particular reckoning is settled offstage. This is presented in stark contrast to the final scene, in which the act of reckoning cannot be avoided.  In acknowledging the consequences of his actions, Don Armado is the only one to deal with his reckoning in a noble manner. The Lords and the King effectively pass judgement on themselves, revealing their true moral character when mocking the players during the representation of the Nine Worthies.<ref name=Lewis/>

Similar to reckoning is the notion of rationalization, which provides the basis for the swift change in the ladies' feelings for the men. The ladies are able to talk themselves into falling in love with the men due to the rationalization of the men's purported flaws. Lewis concluded that "the proclivity to rationalize a position, a like, or a dislike, is linked in ''Love's Labour's Lost'' with the difficulty of reckoning absolute value, whose slipperiness is indicated throughout the play."<ref name=Lewis/>