# 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

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.

2

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.

3

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

Biron

197

How low soever the matter, I hope in God for high words.

4

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

Ferdinand

229

No words!

5

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

Moth

353

Why, sir, is this such a piece of study? Now here
is three studied, ere ye'll thrice wink: and how
easy it is to put 'years' to the word 'three,' and
study three years in two words, the dancing horse
will tell you.

6

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.

7

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.

8

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

Boyet

751

But to speak that in words which his eye hath
disclosed.
I only have made a mouth of his eye,
By adding a tongue which I know will not lie.

9

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

Princess of France

988

Nay, never paint me now:
Where fair is not, praise cannot mend the brow.
Here, good my glass, take this for telling true:
Fair payment for foul words is more than due.

10

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

Costard

1774

O, they have lived long on the alms-basket of words.
I marvel thy master hath not eaten thee for a word;
for thou art not so long by the head as
honorificabilitudinitatibus: thou art easier
swallowed than a flap-dragon.

11

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

Rosaline

2302

But that you take what doth to you belong,
It were a fault to snatch words from my tongue.

12

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

Don Adriano de Armado

2455

Anointed, I implore so much expense of thy royal
sweet breath as will utter a brace of words.

13

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

Biron

2693

Honest plain words best pierce the ear of grief;
And by these badges understand the king.
For your fair sakes have we neglected time,
Play'd foul play with our oaths: your beauty, ladies,
Hath much deform'd us, fashioning our humours
Even to the opposed end of our intents:
And what in us hath seem'd ridiculous,—
As love is full of unbefitting strains,
All wanton as a child, skipping and vain,
Form'd by the eye and therefore, like the eye,
Full of strange shapes, of habits and of forms,
Varying in subjects as the eye doth roll
To every varied object in his glance:
Which parti-coated presence of loose love
Put on by us, if, in your heavenly eyes,
Have misbecomed our oaths and gravities,
Those heavenly eyes, that look into these faults,
Suggested us to make. Therefore, ladies,
Our love being yours, the error that love makes
Is likewise yours: we to ourselves prove false,
By being once false for ever to be true
To those that make us both,—fair ladies, you:
And even that falsehood, in itself a sin,
Thus purifies itself and turns to grace.

14

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

Katharine

2769

Not so, my lord; a twelvemonth and a day
I'll mark no words that smooth-faced wooers say:
Come when the king doth to my lady come;
Then, if I have much love, I'll give you some.

15

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

Don Adriano de Armado

2876

The words of Mercury are harsh after the songs of
Apollo. You that way: we this way.