#
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] |
Biron |
132 |
A dangerous law against gentility!
[Reads]
'Item, If any man be seen to talk with a woman
within the term of three years, he shall endure such
public shame as the rest of the court can possibly devise.'
This article, my liege, yourself must break;
For well you know here comes in embassy
The French king's daughter with yourself to speak—
A maid of grace and complete majesty—
About surrender up of Aquitaine
To her decrepit, sick and bedrid father:
Therefore this article is made in vain,
Or vainly comes the admired princess hither.
|
2 |
Love's Labour's Lost
[I, 1] |
Biron |
153 |
Necessity will make us all forsworn
Three thousand times within this three years' space;
For every man with his affects is born,
Not by might master'd but by special grace:
If I break faith, this word shall speak for me;
I am forsworn on 'mere necessity.'
So to the laws at large I write my name:
[Subscribes]
And he that breaks them in the least degree
Stands in attainder of eternal shame:
Suggestions are to other as to me;
But I believe, although I seem so loath,
I am the last that will last keep his oath.
But is there no quick recreation granted?
|
3 |
Love's Labour's Lost
[I, 1] |
Ferdinand |
167 |
Ay, that there is. Our court, you know, is haunted
With a refined traveller of Spain;
A man in all the world's new fashion planted,
That hath a mint of phrases in his brain;
One whom the music of his own vain tongue
Doth ravish like enchanting harmony;
A man of complements, whom right and wrong
Have chose as umpire of their mutiny:
This child of fancy, that Armado hight,
For interim to our studies shall relate
In high-born words the worth of many a knight
From tawny Spain lost in the world's debate.
How you delight, my lords, I know not, I;
But, I protest, I love to hear him lie
And I will use him for my minstrelsy.
|
4 |
Love's Labour's Lost
[I, 1] |
Biron |
182 |
Armado is a most illustrious wight,
A man of fire-new words, fashion's own knight.
|
5 |
Love's Labour's Lost
[I, 1] |
Costard |
207 |
In manner and form following, sir; all those three:
I was seen with her in the manor-house, sitting with
her upon the form, and taken following her into the
park; which, put together, is in manner and form
following. Now, sir, for the manner,—it is the
manner of a man to speak to a woman: for the form,—
in some form.
|
6 |
Love's Labour's Lost
[I, 1] |
Costard |
219 |
Such is the simplicity of man to hearken after the flesh.
|
7 |
Love's Labour's Lost
[I, 1] |
Costard |
228 |
Be to me and every man that dares not fight!
|
8 |
Love's Labour's Lost
[I, 1] |
Ferdinand |
260 |
[Reads] 'with a child of our grandmother Eve, a
female; or, for thy more sweet understanding, a
woman. Him I, as my ever-esteemed duty pricks me on,
have sent to thee, to receive the meed of
punishment, by thy sweet grace's officer, Anthony
Dull; a man of good repute, carriage, bearing, and
estimation.'
|
9 |
Love's Labour's Lost
[I, 2] |
Don Adriano de Armado |
310 |
Boy, what sign is it when a man of great spirit
grows melancholy?
|
10 |
Love's Labour's Lost
[I, 2] |
Don Adriano de Armado |
346 |
I confess both: they are both the varnish of a
complete man.
|
11 |
Love's Labour's Lost
[I, 2] |
Moth |
373 |
Samson, master: he was a man of good carriage, great
carriage, for he carried the town-gates on his back
like a porter: and he was in love.
|
12 |
Love's Labour's Lost
[I, 2] |
Jaquenetta |
430 |
Man?
|
13 |
Love's Labour's Lost
[I, 2] |
Costard |
457 |
Nay, nothing, Master Moth, but what they look upon.
It is not for prisoners to be too silent in their
words; and therefore I will say nothing: I thank
God I have as little patience as another man; and
therefore I can be quiet.
|
14 |
Love's Labour's Lost
[II, 1] |
Boyet |
485 |
Now, madam, summon up your dearest spirits:
Consider who the king your father sends,
To whom he sends, and what's his embassy:
Yourself, held precious in the world's esteem,
To parley with the sole inheritor
Of all perfections that a man may owe,
Matchless Navarre; the plea of no less weight
Than Aquitaine, a dowry for a queen.
Be now as prodigal of all dear grace
As Nature was in making graces dear
When she did starve the general world beside
And prodigally gave them all to you.
|
15 |
Love's Labour's Lost
[II, 1] |
Princess of France |
525 |
Know you the man?
|
16 |
Love's Labour's Lost
[II, 1] |
Maria |
526 |
I know him, madam: at a marriage-feast,
Between Lord Perigort and the beauteous heir
Of Jaques Falconbridge, solemnized
In Normandy, saw I this Longaville:
A man of sovereign parts he is esteem'd;
Well fitted in arts, glorious in arms:
Nothing becomes him ill that he would well.
The only soil of his fair virtue's gloss,
If virtue's gloss will stain with any soil,
Is a sharp wit matched with too blunt a will;
Whose edge hath power to cut, whose will still wills
It should none spare that come within his power.
|
17 |
Love's Labour's Lost
[II, 1] |
Rosaline |
550 |
Another of these students at that time
Was there with him, if I have heard a truth.
Biron they call him; but a merrier man,
Within the limit of becoming mirth,
I never spent an hour's talk withal:
His eye begets occasion for his wit;
For every object that the one doth catch
The other turns to a mirth-moving jest,
Which his fair tongue, conceit's expositor,
Delivers in such apt and gracious words
That aged ears play truant at his tales
And younger hearings are quite ravished;
So sweet and voluble is his discourse.
|
18 |
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.
|
19 |
Love's Labour's Lost
[III, 1] |
Moth |
800 |
A man, if I live; and this, by, in, and without, upon
the instant: by heart you love her, because your
heart cannot come by her; in heart you love her,
because your heart is in love with her; and out of
heart you love her, being out of heart that you
cannot enjoy her.
|
20 |
Love's Labour's Lost
[III, 1] |
Costard |
908 |
Pray you, sir, how much carnation ribbon may a man
buy for a remuneration?
|