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Result number
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Work
The work is either a play, poem, or sonnet. The sonnets
are treated as single work with 154 parts.
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Character
Indicates who said the line. If it's a play or sonnet,
the character name is "Poet."
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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.
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Text
The line's full text, with keywords highlighted
within it, unless highlighting has been disabled by the user.
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1 |
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.
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2 |
Love's Labour's Lost
[IV, 2] |
Holofernes |
1268 |
You find not the apostraphas, and so miss the
accent: let me supervise the canzonet. Here are
only numbers ratified; but, for the elegancy,
facility, and golden cadence of poesy, caret.
Ovidius Naso was the man: and why, indeed, Naso,
but for smelling out the odouriferous flowers of
fancy, the jerks of invention? Imitari is nothing:
so doth the hound his master, the ape his keeper,
the tired horse his rider. But, damosella virgin,
was this directed to you?
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