Love’s Labour’s Lost does not have a sole protagonist, but the closest equivalent to protagonists are the four Lords, whose objectives drive the action: The Masculine Pursuit of Love is in opposition to the oath they swear in the opening scene, creating the primary source of tension in the play. The King is the leader of their group, and his decisions lead the rest of the Lords, such as binding them all to the oath. Although he is their social superior, he also has a companionable relationship with them: They banter together, and the Lords pursue their affections for the ladies independently of his approval initially.

The King aspires to fame for himself and his court. He hopes that “Navarre shall be the wonder of the world” (1.1.12), suggesting he is motivated by regal pride. His ideas about his court as a haven of learning and elevated nobility tie into medieval ideals of elevated courtly life and the humanist thinking developed during the last century, which emphasized the value of learning in politics. This establishes the centrality of Fantasy Versus Reality: The King’s imagined idealized court is immediately challenged by his necessity and willingness to break his oath, as he must interact with the Princess for his political duties, and then chooses to out of desire.