# 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, 1]

Ferdinand

231

[Reads] 'So it is, besieged with sable-coloured
melancholy, I did commend the black-oppressing humour
to the most wholesome physic of thy health-giving
air; and, as I am a gentleman, betook myself to
walk. The time when. About the sixth hour; when
beasts most graze, birds best peck, and men sit down
to that nourishment which is called supper: so much
for the time when. Now for the ground which; which,
I mean, I walked upon: it is y-cleped thy park. Then
for the place where; where, I mean, I did encounter
that obscene and preposterous event, that draweth
from my snow-white pen the ebon-coloured ink, which
here thou viewest, beholdest, surveyest, or seest;
but to the place where; it standeth north-north-east
and by east from the west corner of thy curious-
knotted garden: there did I see that low-spirited
swain, that base minnow of thy mirth,'—

2

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

Don Adriano de Armado

360

I will hereupon confess I am in love: and as it is
base for a soldier to love, so am I in love with a
base wench. If drawing my sword against the humour
of affection would deliver me from the reprobate
thought of it, I would take Desire prisoner, and
ransom him to any French courtier for a new-devised
courtesy. I think scorn to sigh: methinks I should
outswear Cupid. Comfort, me, boy: what great men
have been in love?

3

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

Moth

773

No, my complete master: but to jig off a tune at
the tongue's end, canary to it with your feet, humour
it with turning up your eyelids, sigh a note and
sing a note, sometime through the throat, as if you
swallowed love with singing love, sometime through
the nose, as if you snuffed up love by smelling
love; with your hat penthouse-like o'er the shop of
your eyes; with your arms crossed on your thin-belly
doublet like a rabbit on a spit; or your hands in
your pocket like a man after the old painting; and
keep not too long in one tune, but a snip and away.
These are complements, these are humours; these
betray nice wenches, that would be betrayed without
these; and make them men of note—do you note
me?—that most are affected to these.

4

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

Holofernes

1194

Sir Nathaniel, will you hear an extemporal epitaph
on the death of the deer? And, to humour the
ignorant, call I the deer the princess killed a pricket.

5

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

Holofernes

1742

Novi hominem tanquam te: his humour is lofty, his
discourse peremptory, his tongue filed, his eye
ambitious, his gait majestical, and his general
behavior vain, ridiculous, and thrasonical. He is
too picked, too spruce, too affected, too odd, as it
were, too peregrinate, as I may call it.