# 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

As You Like It
[V, 4]

Rosalind

2596

It is not the fashion to see the lady the epilogue; but
it is no more unhandsome than to see the lord the prologue. If it
be true that good wine needs no bush, 'tis true that a good play
needs no epilogue. Yet to good wine they do use good bushes; and
good plays prove the better by the help of good epilogues. What a
case am I in then, that am neither a good epilogue, nor cannot
insinuate with you in the behalf of a good play! I am not
furnish'd like a beggar; therefore to beg will not become me. My
way is to conjure you; and I'll begin with the women. I charge
you, O women, for the love you bear to men, to like as much of
this play as please you; and I charge you, O men, for the love
you bear to women- as I perceive by your simp'ring none of you
hates them- that between you and the women the play may please.
If I were a woman, I would kiss as many of you as had beards that
pleas'd me, complexions that lik'd me, and breaths that I defied
not; and, I am sure, as many as have good beards, or good faces,
or sweet breaths, will, for my kind offer, when I make curtsy,
bid me farewell.

2

Coriolanus
[II, 1]

Junius Brutus

1143

All tongues speak of him, and the bleared sights
Are spectacled to see him: your prattling nurse
Into a rapture lets her baby cry
While she chats him: the kitchen malkin pins
Her richest lockram 'bout her reechy neck,
Clambering the walls to eye him: stalls, bulks, windows,
Are smother'd up, leads fill'd, and ridges horsed
With variable complexions, all agreeing
In earnestness to see him: seld-shown flamens
Do press among the popular throngs and puff
To win a vulgar station: or veil'd dames
Commit the war of white and damask in
Their nicely-gawded cheeks to the wanton spoil
Of Phoebus' burning kisses: such a pother
As if that whatsoever god who leads him
Were slily crept into his human powers
And gave him graceful posture.

3

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

Don Adriano de Armado

385

Is that one of the four complexions?

4

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

Biron

1576

My eyes are then no eyes, nor I Biron:
O, but for my love, day would turn to night!
Of all complexions the cull'd sovereignty
Do meet, as at a fair, in her fair cheek,
Where several worthies make one dignity,
Where nothing wants that want itself doth seek.
Lend me the flourish of all gentle tongues,—
Fie, painted rhetoric! O, she needs it not:
To things of sale a seller's praise belongs,
She passes praise; then praise too short doth blot.
A wither'd hermit, five-score winters worn,
Might shake off fifty, looking in her eye:
Beauty doth varnish age, as if new-born,
And gives the crutch the cradle's infancy:
O, 'tis the sun that maketh all things shine.

5

Measure for Measure
[II, 4]

Isabella

1153

Ay, as the glasses where they view themselves;
Which are as easy broke as they make forms.
Women! Help Heaven! men their creation mar
In profiting by them. Nay, call us ten times frail;
For we are soft as our complexions are,
And credulous to false prints.

6

Pericles
[IV, 2]

Bawd

1743

Yes, indeed shall you, and taste gentlemen of all
fashions: you shall fare well; you shall have the
difference of all complexions. What! do you stop your ears?

7

Winter's Tale
[I, 2]

Polixenes

495

How! dare not! do not. Do you know, and dare not?
Be intelligent to me: 'tis thereabouts;
For, to yourself, what you do know, you must.
And cannot say, you dare not. Good Camillo,
Your changed complexions are to me a mirror
Which shows me mine changed too; for I must be
A party in this alteration, finding
Myself thus alter'd with 't.