# 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

268

[Reads] 'For Jaquenetta,—so is the weaker vessel
called which I apprehended with the aforesaid
swain,—I keep her as a vessel of the law's fury;
and shall, at the least of thy sweet notice, bring
her to trial. Thine, in all compliments of devoted
and heart-burning heat of duty.
DON ADRIANO DE ARMADO.'

2

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

(stage directions)

309

[Enter DON ADRIANO DE ARMADO and MOTH]

3

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

(stage directions)

764

[Enter DON ADRIANO DE ARMADO and MOTH]

4

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

Boyet

1034

'By heaven, that thou art fair, is most infallible;
true, that thou art beauteous; truth itself, that
thou art lovely. More fairer than fair, beautiful
than beauteous, truer than truth itself, have
commiseration on thy heroical vassal! The
magnanimous and most illustrate king Cophetua set
eye upon the pernicious and indubitate beggar
Zenelophon; and he it was that might rightly say,
Veni, vidi, vici; which to annothanize in the
vulgar,—O base and obscure vulgar!—videlicet, He
came, saw, and overcame: he came, one; saw two;
overcame, three. Who came? the king: why did he
come? to see: why did he see? to overcome: to
whom came he? to the beggar: what saw he? the
beggar: who overcame he? the beggar. The
conclusion is victory: on whose side? the king's.
The captive is enriched: on whose side? the
beggar's. The catastrophe is a nuptial: on whose
side? the king's: no, on both in one, or one in
both. I am the king; for so stands the comparison:
thou the beggar; for so witnesseth thy lowliness.
Shall I command thy love? I may: shall I enforce
thy love? I could: shall I entreat thy love? I
will. What shalt thou exchange for rags? robes;
for tittles? titles; for thyself? me. Thus,
expecting thy reply, I profane my lips on thy foot,
my eyes on thy picture. and my heart on thy every
part. Thine, in the dearest design of industry,
DON ADRIANO DE ARMADO.'
Thus dost thou hear the Nemean lion roar
'Gainst thee, thou lamb, that standest as his prey.
Submissive fall his princely feet before,
And he from forage will incline to play:
But if thou strive, poor soul, what art thou then?
Food for his rage, repasture for his den.

5

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

Sir Nathaniel

1735

I praise God for you, sir: your reasons at dinner
have been sharp and sententious; pleasant without
scurrility, witty without affection, audacious without
impudency, learned without opinion, and strange with-
out heresy. I did converse this quondam day with
a companion of the king's, who is intituled, nomi-
nated, or called, Don Adriano de Armado.

6

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

(stage directions)

1766

[Enter DON ADRIANO DE ARMADO, MOTH, and COSTARD]

7

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

(stage directions)

2454

[Enter DON ADRIANO DE ARMADO]

8

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

(stage directions)

2574

[Enter DON ADRIANO DE ARMADO, for Hector]

9

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

(stage directions)

2823

[Re-enter DON ADRIANO DE ARMADO]