# Result number

Work The work is either a play, poem, or sonnet. The sonnets are treated as single work with 154 parts.

Character Indicates who said the line. If it's a play or sonnet, the character name is "Poet."

Line Shows where the line falls within the work.

The numbering is not keyed to any copyrighted numbering system found in a volume of collected works (Arden, Oxford, etc.) The numbering starts at the beginning of the work, and does not restart for each scene.

Text The line's full text, with keywords highlighted within it, unless highlighting has been disabled by the user.

1

Love's Labour's Lost
[I, 2]

Don Adriano de Armado

463

I do affect the very ground, which is base, where
her shoe, which is baser, guided by her foot, which
is basest, doth tread. I shall be forsworn, which
is a great argument of falsehood, if I love. And
how can that be true love which is falsely
attempted? Love is a familiar; Love is a devil:
there is no evil angel but Love. Yet was Samson so
tempted, and he had an excellent strength; yet was
Solomon so seduced, and he had a very good wit.
Cupid's butt-shaft is too hard for Hercules' club;
and therefore too much odds for a Spaniard's rapier.
The first and second cause will not serve my turn;
the passado he respects not, the duello he regards
not: his disgrace is to be called boy; but his
glory is to subdue men. Adieu, valour! rust rapier!
be still, drum! for your manager is in love; yea,
he loveth. Assist me, some extemporal god of rhyme,
for I am sure I shall turn sonnet. Devise, wit;
write, pen; for I am for whole volumes in folio.

2

Love's Labour's Lost
[IV, 1]

Boyet

1034

'By heaven, that thou art fair, is most infallible;
true, that thou art beauteous; truth itself, that
thou art lovely. More fairer than fair, beautiful
than beauteous, truer than truth itself, have
commiseration on thy heroical vassal! The
magnanimous and most illustrate king Cophetua set
eye upon the pernicious and indubitate beggar
Zenelophon; and he it was that might rightly say,
Veni, vidi, vici; which to annothanize in the
vulgar,—O base and obscure vulgar!—videlicet, He
came, saw, and overcame: he came, one; saw two;
overcame, three. Who came? the king: why did he
come? to see: why did he see? to overcome: to
whom came he? to the beggar: what saw he? the
beggar: who overcame he? the beggar. The
conclusion is victory: on whose side? the king's.
The captive is enriched: on whose side? the
beggar's. The catastrophe is a nuptial: on whose
side? the king's: no, on both in one, or one in
both. I am the king; for so stands the comparison:
thou the beggar; for so witnesseth thy lowliness.
Shall I command thy love? I may: shall I enforce
thy love? I could: shall I entreat thy love? I
will. What shalt thou exchange for rags? robes;
for tittles? titles; for thyself? me. Thus,
expecting thy reply, I profane my lips on thy foot,
my eyes on thy picture. and my heart on thy every
part. Thine, in the dearest design of industry,
DON ADRIANO DE ARMADO.'
Thus dost thou hear the Nemean lion roar
'Gainst thee, thou lamb, that standest as his prey.
Submissive fall his princely feet before,
And he from forage will incline to play:
But if thou strive, poor soul, what art thou then?
Food for his rage, repasture for his den.

3

Love's Labour's Lost
[IV, 3]

Biron

1508

Not you to me, but I betray'd by you:
I, that am honest; I, that hold it sin
To break the vow I am engaged in;
I am betray'd, by keeping company
With men like men of inconstancy.
When shall you see me write a thing in rhyme?
Or groan for love? or spend a minute's time
In pruning me? When shall you hear that I
Will praise a hand, a foot, a face, an eye,
A gait, a state, a brow, a breast, a waist,
A leg, a limb?

4

Love's Labour's Lost
[IV, 3]

Longaville

1621

Look, here's thy love: my foot and her face see.

5

Love's Labour's Lost
[V, 2]

Princess of France

2030

No, to the death, we will not move a foot;
Nor to their penn'd speech render we no grace,
But while 'tis spoke each turn away her face.

6

Love's Labour's Lost
[V, 2]

Biron

2386

Neither of either; I remit both twain.
I see the trick on't: here was a consent,
Knowing aforehand of our merriment,
To dash it like a Christmas comedy:
Some carry-tale, some please-man, some slight zany,
Some mumble-news, some trencher-knight, some Dick,
That smiles his cheek in years and knows the trick
To make my lady laugh when she's disposed,
Told our intents before; which once disclosed,
The ladies did change favours: and then we,
Following the signs, woo'd but the sign of she.
Now, to our perjury to add more terror,
We are again forsworn, in will and error.
Much upon this it is: and might not you
[To BOYET]
Forestall our sport, to make us thus untrue?
Do not you know my lady's foot by the squier,
And laugh upon the apple of her eye?
And stand between her back, sir, and the fire,
Holding a trencher, jesting merrily?
You put our page out: go, you are allow'd;
Die when you will, a smock shall be your shroud.
You leer upon me, do you? there's an eye
Wounds like a leaden sword.

7

Love's Labour's Lost
[V, 2]

Boyet

2609

[Aside to DUMAIN] Loves her by the foot,—

8

Love's Labour's Lost
[V, 2]

Ferdinand

2681

The extreme parts of time extremely forms
All causes to the purpose of his speed,
And often at his very loose decides
That which long process could not arbitrate:
And though the mourning brow of progeny
Forbid the smiling courtesy of love
The holy suit which fain it would convince,
Yet, since love's argument was first on foot,
Let not the cloud of sorrow justle it
From what it purposed; since, to wail friends lost
Is not by much so wholesome-profitable
As to rejoice at friends but newly found.PRINCESS. I understand you not: my griefs are double.