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KEYWORD: master

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# 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]	Moth	331	Speak you this in my praise, master?
2	Love's Labour's Lost [I, 2]	Moth	369	Hercules, master.
3	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.
4	Love's Labour's Lost [I, 2]	Moth	380	A woman, master.
5	Love's Labour's Lost [I, 2]	Moth	392	Most maculate thoughts, master, are masked under such colours.
6	Love's Labour's Lost [I, 2]	Moth	398	If she be made of white and red, Her faults will ne'er be known, For blushing cheeks by faults are bred And fears by pale white shown: Then if she fear, or be to blame, By this you shall not know, For still her cheeks possess the same Which native she doth owe. A dangerous rhyme, master, against the reason of white and red.
7	Love's Labour's Lost [I, 2]	Moth	417	[Aside] To be whipped; and yet a better love than my master.
8	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.
9	Love's Labour's Lost [III, 1]	Moth	771	Master, will you win your love with a French brawl?
10	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.
11	Love's Labour's Lost [III, 1]	Moth	793	No, master; the hobby-horse is but a colt, and your love perhaps a hackney. But have you forgot your love?
12	Love's Labour's Lost [III, 1]	Moth	798	And out of heart, master: all those three I will prove.
13	Love's Labour's Lost [III, 1]	Moth	819	Minime, honest master; or rather, master, no.
14	Love's Labour's Lost [III, 1]	Moth	833	A wonder, master! here's a costard broken in a shin.
15	Love's Labour's Lost [IV, 1]	Costard	1082	From my lord Biron, a good master of mine, To a lady of France that he call'd Rosaline.
16	Love's Labour's Lost [IV, 2]	Sir Nathaniel	1149	Truly, Master Holofernes, the epithets are sweetly varied, like a scholar at the least: but, sir, I assure ye, it was a buck of the first head.
17	Love's Labour's Lost [IV, 2]	Sir Nathaniel	1197	Perge, good Master Holofernes, perge; so it shall please you to abrogate scurrility.
18	Love's Labour's Lost [IV, 2]	Jaquenetta	1230	God give you good morrow, master Parson.
19	Love's Labour's Lost [IV, 2]	Holofernes	1231	Master Parson, quasi pers-on. An if one should be pierced, which is the one?
20	Love's Labour's Lost [IV, 2]	Costard	1233	Marry, master schoolmaster, he that is likest to a hogshead.

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