# 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
[I, 2]

King of France

265

I would I had that corporal soundness now,
As when thy father and myself in friendship
First tried our soldiership! He did look far
Into the service of the time and was
Discipled of the bravest: he lasted long;
But on us both did haggish age steal on
And wore us out of act. It much repairs me
To talk of your good father. In his youth
He had the wit which I can well observe
To-day in our young lords; but they may jest
Till their own scorn return to them unnoted
Ere they can hide their levity in honour;
So like a courtier, contempt nor bitterness
Were in his pride or sharpness; if they were,
His equal had awaked them, and his honour,
Clock to itself, knew the true minute when
Exception bid him speak, and at this time
His tongue obey'd his hand: who were below him
He used as creatures of another place
And bow'd his eminent top to their low ranks,
Making them proud of his humility,
In their poor praise he humbled. Such a man
Might be a copy to these younger times;
Which, follow'd well, would demonstrate them now
But goers backward.

2

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

Parolles

1926

Ten o'clock: within these three hours 'twill be
time enough to go home. What shall I say I have
done? It must be a very plausive invention that
carries it: they begin to smoke me; and disgraces
have of late knocked too often at my door. I find
my tongue is too foolhardy; but my heart hath the
fear of Mars before it and of his creatures, not
daring the reports of my tongue.

3

As You Like It
[II, 7]

Jaques (lord)

906

A fool, a fool! I met a fool i' th' forest,
A motley fool. A miserable world!
As I do live by food, I met a fool,
Who laid him down and bask'd him in the sun,
And rail'd on Lady Fortune in good terms,
In good set terms- and yet a motley fool.
'Good morrow, fool,' quoth I; 'No, sir,' quoth he,
'Call me not fool till heaven hath sent me fortune.'
And then he drew a dial from his poke,
And, looking on it with lack-lustre eye,
Says very wisely, 'It is ten o'clock;
Thus we may see,' quoth he, 'how the world wags;
'Tis but an hour ago since it was nine;
And after one hour more 'twill be eleven;
And so, from hour to hour, we ripe and ripe,
And then, from hour to hour, we rot and rot;
And thereby hangs a tale.' When I did hear
The motley fool thus moral on the time,
My lungs began to crow like chanticleer
That fools should be so deep contemplative;
And I did laugh sans intermission
An hour by his dial. O noble fool!
A worthy fool! Motley's the only wear.

4

As You Like It
[III, 2]

Rosalind

1395

I pray you, what is't o'clock?

5

As You Like It
[III, 2]

Orlando

1396

You should ask me what time o' day; there's no clock in
the forest.

6

As You Like It
[III, 2]

Rosalind

1398

Then there is no true lover in the forest, else sighing
every minute and groaning every hour would detect the lazy foot
of Time as well as a clock.

7

As You Like It
[IV, 1]

Orlando

1947

I must attend the Duke at dinner; by two o'clock I will be
with thee again.

8

As You Like It
[IV, 1]

Rosalind

1949

Ay, go your ways, go your ways. I knew what you would
prove; my friends told me as much, and I thought no less. That
flattering tongue of yours won me. 'Tis but one cast away, and
so, come death! Two o'clock is your hour?

9

As You Like It
[IV, 3]

Rosalind

2001

How say you now? Is it not past two o'clock?
And here much Orlando!

10

Comedy of Errors
[I, 2]

First Merchant

187

I am invited, sir, to certain merchants,
Of whom I hope to make much benefit;
I crave your pardon. Soon at five o'clock,
Please you, I'll meet with you upon the mart
And afterward consort you till bed-time:
My present business calls me from you now.

11

Comedy of Errors
[I, 2]

Dromio of Ephesus

208

Return'd so soon! rather approach'd too late:
The capon burns, the pig falls from the spit,
The clock hath strucken twelve upon the bell;
My mistress made it one upon my cheek:
She is so hot because the meat is cold;
The meat is cold because you come not home;
You come not home because you have no stomach;
You have no stomach having broke your fast;
But we that know what 'tis to fast and pray
Are penitent for your default to-day.

12

Comedy of Errors
[I, 2]

Dromio of Ephesus

227

I pray you, air, as you sit at dinner:
I from my mistress come to you in post;
If I return, I shall be post indeed,
For she will score your fault upon my pate.
Methinks your maw, like mine, should be your clock,
And strike you home without a messenger.

13

Comedy of Errors
[II, 1]

Adriana

273

Neither my husband nor the slave return'd,
That in such haste I sent to seek his master!
Sure, Luciana, it is two o'clock.

14

Comedy of Errors
[IV, 1]

Angelo

957

Even just the sum that I do owe to you
Is growing to me by Antipholus,
And in the instant that I met with you
He had of me a chain: at five o'clock
I shall receive the money for the same.
Pleaseth you walk with me down to his house,
I will discharge my bond and thank you too.
[Enter ANTIPHOLUS of Ephesus and DROMIO of Ephesus]
from the courtezan's]

15

Comedy of Errors
[IV, 2]

Dromio of Syracuse

1131

No, no, the bell: 'tis time that I were gone:
It was two ere I left him, and now the clock
strikes one.

16

Cymbeline
[II, 2]

Imogen

923

I have read three hours then: mine eyes are weak:
Fold down the leaf where I have left: to bed:
Take not away the taper, leave it burning;
And if thou canst awake by four o' the clock,
I prithee, call me. Sleep hath seized me wholly
[Exit Lady]
To your protection I commend me, gods.
From fairies and the tempters of the night
Guard me, beseech ye.

17

Cymbeline
[II, 2]

Iachimo

933

The crickets sing, and man's o'er-labour'd sense
Repairs itself by rest. Our Tarquin thus
Did softly press the rushes, ere he waken'd
The chastity he wounded. Cytherea,
How bravely thou becomest thy bed, fresh lily,
And whiter than the sheets! That I might touch!
But kiss; one kiss! Rubies unparagon'd,
How dearly they do't! 'Tis her breathing that
Perfumes the chamber thus: the flame o' the taper
Bows toward her, and would under-peep her lids,
To see the enclosed lights, now canopied
Under these windows, white and azure laced
With blue of heaven's own tinct. But my design,
To note the chamber: I will write all down:
Such and such pictures; there the window; such
The adornment of her bed; the arras; figures,
Why, such and such; and the contents o' the story.
Ah, but some natural notes about her body,
Above ten thousand meaner moveables
Would testify, to enrich mine inventory.
O sleep, thou ape of death, lie dull upon her!
And be her sense but as a monument,
Thus in a chapel lying! Come off, come off:
[Taking off her bracelet]
As slippery as the Gordian knot was hard!
'Tis mine; and this will witness outwardly,
As strongly as the conscience does within,
To the madding of her lord. On her left breast
A mole cinque-spotted, like the crimson drops
I' the bottom of a cowslip: here's a voucher,
Stronger than ever law could make: this secret
Will force him think I have pick'd the lock and ta'en
The treasure of her honour. No more. To what end?
Why should I write this down, that's riveted,
Screw'd to my memory? She hath been reading late
The tale of Tereus; here the leaf's turn'd down
Where Philomel gave up. I have enough:
To the trunk again, and shut the spring of it.
Swift, swift, you dragons of the night, that dawning
May bare the raven's eye! I lodge in fear;
Though this a heavenly angel, hell is here.
[Clock strikes]
One, two, three: time, time!

18

Cymbeline
[III, 4]

Imogen

1761

False to his bed! What is it to be false?
To lie in watch there and to think on him?
To weep 'twixt clock and clock? if sleep
charge nature,
To break it with a fearful dream of him
And cry myself awake? that's false to's bed, is it?

19

Cymbeline
[V, 5]

Iachimo

3557

Upon a time,—unhappy was the clock
That struck the hour!—it was in Rome,—accursed
The mansion where!—'twas at a feast,—O, would
Our viands had been poison'd, or at least
Those which I heaved to head!—the good Posthumus—
What should I say? he was too good to be
Where ill men were; and was the best of all
Amongst the rarest of good ones,—sitting sadly,
Hearing us praise our loves of Italy
For beauty that made barren the swell'd boast
Of him that best could speak, for feature, laming
The shrine of Venus, or straight-pight Minerva.
Postures beyond brief nature, for condition,
A shop of all the qualities that man
Loves woman for, besides that hook of wiving,
Fairness which strikes the eye—

20

Henry IV, Part I
[I, 2]

Edward Poins

229

But, my lads, my lads, to-morrow morning, by four
o'clock, early at Gadshill! there are pilgrims going
to Canterbury with rich offerings, and traders
riding to London with fat purses: I have vizards
for you all; you have horses for yourselves:
Gadshill lies to-night in Rochester: I have bespoke
supper to-morrow night in Eastcheap: we may do it
as secure as sleep. If you will go, I will stuff
your purses full of crowns; if you will not, tarry
at home and be hanged.