# 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

All's Well That Ends Well
[II, 1]

Helena

770

The great'st grace lending grace
Ere twice the horses of the sun shall bring
Their fiery torcher his diurnal ring,
Ere twice in murk and occidental damp
Moist Hesperus hath quench'd his sleepy lamp,
Or four and twenty times the pilot's glass
Hath told the thievish minutes how they pass,
What is infirm from your sound parts shall fly,
Health shall live free and sickness freely die.

2

All's Well That Ends Well
[II, 1]

King of France

786

Methinks in thee some blessed spirit doth speak
His powerful sound within an organ weak:
And what impossibility would slay
In common sense, sense saves another way.
Thy life is dear; for all that life can rate
Worth name of life in thee hath estimate,
Youth, beauty, wisdom, courage, all
That happiness and prime can happy call:
Thou this to hazard needs must intimate
Skill infinite or monstrous desperate.
Sweet practiser, thy physic I will try,
That ministers thine own death if I die.

3

All's Well That Ends Well
[IV, 3]

Parolles

2247

By my troth, sir, if I were to live this present
hour, I will tell true. Let me see: Spurio, a
hundred and fifty; Sebastian, so many; Corambus, so
many; Jaques, so many; Guiltian, Cosmo, Lodowick,
and Gratii, two hundred and fifty each; mine own
company, Chitopher, Vaumond, Bentii, two hundred and
fifty each: so that the muster-file, rotten and
sound, upon my life, amounts not to fifteen thousand
poll; half of the which dare not shake snow from off
their cassocks, lest they shake themselves to pieces.

4

All's Well That Ends Well
[V, 2]

Lafeu

2661

Out upon thee, knave! dost thou put upon me at once
both the office of God and the devil? One brings
thee in grace and the other brings thee out.
[Trumpets sound]
The king's coming; I know by his trumpets. Sirrah,
inquire further after me; I had talk of you last
night: though you are a fool and a knave, you shall
eat; go to, follow.

5

Antony and Cleopatra
[II, 2]

Octavius

726

I must be laugh'd at,
If, or for nothing or a little, I
Should say myself offended, and with you
Chiefly i' the world; more laugh'd at, that I should
Once name you derogately, when to sound your name
It not concern'd me.

6

Antony and Cleopatra
[II, 7]

Menas

1537

No, to my cabin.
These drums! these trumpets, flutes! what!
Let Neptune hear we bid a loud farewell
To these great fellows: sound and be hang'd, sound out!

7

Antony and Cleopatra
[II, 7]

(stage directions)

1541

[Sound a flourish, with drums]

8

Antony and Cleopatra
[III, 2]

(stage directions)

1680

[Trumpets sound. Exeunt]

9

Antony and Cleopatra
[IV, 5]

(stage directions)

2674

[Trumpets sound. Enter MARK ANTONY and EROS; a]
Soldier meeting them]

10

As You Like It
[II, 7]

Jaques (lord)

1037

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lin'd,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper'd pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well sav'd, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion;
Sans teeth, sans eyes, sans taste, sans every thing.

11

As You Like It
[III, 2]

Rosalind

1482

Yes, one; and in this manner. He was to imagine me his
love, his mistress; and I set him every day to woo me; at which
time would I, being but a moonish youth, grieve, be effeminate,
changeable, longing and liking, proud, fantastical, apish,
shallow, inconstant, full of tears, full of smiles; for every
passion something and for no passion truly anything, as boys and
women are for the most part cattle of this colour; would now like
him, now loathe him; then entertain him, then forswear him; now
weep for him, then spit at him; that I drave my suitor from his
mad humour of love to a living humour of madness; which was, to
forswear the full stream of the world and to live in a nook
merely monastic. And thus I cur'd him; and this way will I take
upon me to wash your liver as clean as a sound sheep's heart,
that there shall not be one spot of love in 't.

12

Comedy of Errors
[II, 2]

Dromio of Syracuse

479

For two; and sound ones too.

13

Comedy of Errors
[II, 2]

Antipholus of Syracuse

480

Nay, not sound, I pray you.

14

Comedy of Errors
[IV, 4]

Antipholus of Ephesus

1249

Fear me not, man; I will not break away:
I'll give thee, ere I leave thee, so much money,
To warrant thee, as I am 'rested for.
My wife is in a wayward mood to-day,
And will not lightly trust the messenger
That I should be attach'd in Ephesus,
I tell you, 'twill sound harshly in her ears.
[Enter DROMIO of Ephesus with a rope's-end]
Here comes my man; I think he brings the money.
How now, sir! have you that I sent you for?

15

Comedy of Errors
[IV, 4]

Antipholus of Syracuse

1412

Come to the Centaur; fetch our stuff from thence:
I long that we were safe and sound aboard.

16

Coriolanus
[I, 4]

Coriolanus

491

Then shall we hear their 'larum, and they ours.
Now, Mars, I prithee, make us quick in work,
That we with smoking swords may march from hence,
To help our fielded friends! Come, blow thy blast.
[They sound a parley. Enter two Senators with others]
on the walls]
Tutus Aufidius, is he within your walls?

17

Coriolanus
[I, 5]

Titus Lartius

601

Thou worthiest CORIOLANUS!
[Exit CORIOLANUS]
Go, sound thy trumpet in the market-place;
Call thither all the officers o' the town,
Where they shall know our mind: away!

18

Coriolanus
[I, 6]

Cominius

642

The shepherd knows not thunder from a tabour
More than I know the sound of CORIOLANUS' tongue
From every meaner man.

19

Coriolanus
[I, 6]

Coriolanus

649

O, let me clip ye
In arms as sound as when I woo'd, in heart
As merry as when our nuptial day was done,
And tapers burn'd to bedward!

20

Coriolanus
[I, 9]

Coriolanus

814

May these same instruments, which you profane,
Never sound more! when drums and trumpets shall
I' the field prove flatterers, let courts and cities be
Made all of false-faced soothing!
When steel grows soft as the parasite's silk,
Let him be made a coverture for the wars!
No more, I say! For that I have not wash'd
My nose that bled, or foil'd some debile wretch.—
Which, without note, here's many else have done,—
You shout me forth
In acclamations hyperbolical;
As if I loved my little should be dieted
In praises sauced with lies.