# 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

Antony and Cleopatra
[IV, 14]

(stage directions)

3085

[Turning from him]

2

As You Like It
[I, 3]

Celia

427

O, a good wish upon you! You will try in time, in despite of
a fall. But, turning these jests out of service, let us talk in
good earnest. Is it possible, on such a sudden, you should fall
into so strong a liking with old Sir Rowland's youngest son?

3

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.

4

Henry IV, Part II
[IV, 1]

Earl of Westmoreland

2235

Then, my lord,
Unto your Grace do I in chief address
The substance of my speech. If that rebellion
Came like itself, in base and abject routs,
Led on by bloody youth, guarded with rags,
And countenanc'd by boys and beggary-
I say, if damn'd commotion so appear'd
In his true, native, and most proper shape,
You, reverend father, and these noble lords,
Had not been here to dress the ugly form
Of base and bloody insurrection
With your fair honours. You, Lord Archbishop,
Whose see is by a civil peace maintain'd,
Whose beard the silver hand of peace hath touch'd,
Whose learning and good letters peace hath tutor'd,
Whose white investments figure innocence,
The dove, and very blessed spirit of peace-
Wherefore you do so ill translate yourself
Out of the speech of peace, that bears such grace,
Into the harsh and boist'rous tongue of war;
Turning your books to graves, your ink to blood,
Your pens to lances, and your tongue divine
To a loud trumpet and a point of war?

5

Henry IV, Part II
[IV, 2]

Prince John

2442

You are well encount'red here, my cousin Mowbray.
Good day to you, gentle Lord Archbishop;
And so to you, Lord Hastings, and to all.
My Lord of York, it better show'd with you
When that your flock, assembled by the bell,
Encircled you to hear with reverence
Your exposition on the holy text
Than now to see you here an iron man,
Cheering a rout of rebels with your drum,
Turning the word to sword, and life to death.
That man that sits within a monarch's heart
And ripens in the sunshine of his favour,
Would he abuse the countenance of the king,
Alack, what mischiefs might he set abroach
In shadow of such greatness! With you, Lord Bishop,
It is even so. Who hath not heard it spoken
How deep you were within the books of God?
To us the speaker in His parliament,
To us th' imagin'd voice of God himself,
The very opener and intelligencer
Between the grace, the sanctities of heaven,
And our dull workings. O, who shall believe
But you misuse the reverence of your place,
Employ the countenance and grace of heav'n
As a false favourite doth his prince's name,
In deeds dishonourable? You have ta'en up,
Under the counterfeited zeal of God,
The subjects of His substitute, my father,
And both against the peace of heaven and him
Have here up-swarm'd them.

6

Henry IV, Part II
[IV, 4]

Earl of Warwick

2815

My gracious lord, you look beyond him quite.
The Prince but studies his companions
Like a strange tongue, wherein, to gain the language,
'Tis needful that the most immodest word
Be look'd upon and learnt; which once attain'd,
Your Highness knows, comes to no further use
But to be known and hated. So, like gross terms,
The Prince will, in the perfectness of time,
Cast off his followers; and their memory
Shall as a pattern or a measure live
By which his Grace must mete the lives of other,
Turning past evils to advantages.

7

Henry V
[Prologue, 1]

Chorus

2

O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.

8

Henry V
[II, 3]

Hostess Quickly

840

Nay, sure, he's not in hell: he's in Arthur's
bosom, if ever man went to Arthur's bosom. A' made
a finer end and went away an it had been any
christom child; a' parted even just between twelve
and one, even at the turning o' the tide: for after
I saw him fumble with the sheets and play with
flowers and smile upon his fingers' ends, I knew
there was but one way; for his nose was as sharp as
a pen, and a' babbled of green fields. 'How now,
sir John!' quoth I. 'what, man! be o' good
cheer.' So a' cried out 'God, God, God!' three or
four times. Now I, to comfort him, bid him a'
should not think of God; I hoped there was no need
to trouble himself with any such thoughts yet. So
a' bade me lay more clothes on his feet: I put my
hand into the bed and felt them, and they were as
cold as any stone; then I felt to his knees, and
they were as cold as any stone, and so upward and
upward, and all was as cold as any stone.

9

Henry V
[II, 4]

Duke of Exeter

1000

Bloody constraint; for if you hide the crown
Even in your hearts, there will he rake for it:
Therefore in fierce tempest is he coming,
In thunder and in earthquake, like a Jove,
That, if requiring fail, he will compel;
And bids you, in the bowels of the Lord,
Deliver up the crown, and to take mercy
On the poor souls for whom this hungry war
Opens his vasty jaws; and on your head
Turning the widows' tears, the orphans' cries
The dead men's blood, the pining maidens groans,
For husbands, fathers and betrothed lovers,
That shall be swallow'd in this controversy.
This is his claim, his threatening and my message;
Unless the Dauphin be in presence here,
To whom expressly I bring greeting too.

10

Henry V
[III, 6]

Fluellen

1491

By your patience, Aunchient Pistol. Fortune is
painted blind, with a muffler afore her eyes, to
signify to you that Fortune is blind; and she is
painted also with a wheel, to signify to you, which
is the moral of it, that she is turning, and
inconstant, and mutability, and variation: and her
foot, look you, is fixed upon a spherical stone,
which rolls, and rolls, and rolls: in good truth,
the poet makes a most excellent description of it:
Fortune is an excellent moral.

11

Julius Caesar
[V, 3]

Cassius

2497

O, look, Tintinius, look, the villains fly!
Myself have to mine own turn'd enemy:
This ensign here of mine was turning back;
I slew the coward, and did take it from him.

12

King John
[III, 1]

King Phillip

994

'Tis true, fair daughter; and this blessed day
Ever in France shall be kept festival:
To solemnize this day the glorious sun
Stays in his course and plays the alchemist,
Turning with splendor of his precious eye
The meagre cloddy earth to glittering gold:
The yearly course that brings this day about
Shall never see it but a holiday.

13

King John
[IV, 1]

Hubert de Burgh

1609

[Aside] His words do take possession of my bosom.
Read here, young Arthur.
[Showing a paper]
[Aside]
How now, foolish rheum!
Turning dispiteous torture out of door!
I must be brief, lest resolution drop
Out at mine eyes in tender womanish tears.
Can you not read it? Is it not fair writ?

14

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.

15

Love's Labour's Lost
[IV, 3]

Dumain

1429

[Reads]
On a day—alack the day!—
Love, whose month is ever May,
Spied a blossom passing fair
Playing in the wanton air:
Through the velvet leaves the wind,
All unseen, can passage find;
That the lover, sick to death,
Wish himself the heaven's breath.
Air, quoth he, thy cheeks may blow;
Air, would I might triumph so!
But, alack, my hand is sworn
Ne'er to pluck thee from thy thorn;
Vow, alack, for youth unmeet,
Youth so apt to pluck a sweet!
Do not call it sin in me,
That I am forsworn for thee;
Thou for whom Jove would swear
Juno but an Ethiope were;
And deny himself for Jove,
Turning mortal for thy love.
This will I send, and something else more plain,
That shall express my true love's fasting pain.
O, would the king, Biron, and Longaville,
Were lovers too! Ill, to example ill,
Would from my forehead wipe a perjured note;
For none offend where all alike do dote.

16

Macbeth
[II, 3]

Porter

747

Here's a knocking indeed! If a
man were porter of hell-gate, he should have
old turning the key.
[Knocking within]
Knock,
knock, knock! Who's there, i' the name of
Beelzebub? Here's a farmer, that hanged
himself on the expectation of plenty: come in
time; have napkins enow about you; here
you'll sweat for't.
[Knocking within]
Knock,
knock! Who's there, in the other devil's
name? Faith, here's an equivocator, that could
swear in both the scales against either scale;
who committed treason enough for God's sake,
yet could not equivocate to heaven: O, come
in, equivocator.
[Knocking within]
Knock,
knock, knock! Who's there? Faith, here's an
English tailor come hither, for stealing out of
a French hose: come in, tailor; here you may
roast your goose.
[Knocking within]
Knock,
knock; never at quiet! What are you? But
this place is too cold for hell. I'll devil-porter
it no further: I had thought to have let in
some of all professions that go the primrose
way to the everlasting bonfire.
[Knocking within]
Anon, anon! I pray you, remember the porter.

17

Merchant of Venice
[II, 2]

Launcelot Gobbo

605

Turn up on your right hand at the next turning, but,
at the next turning of all, on your left; marry, at
the very next turning, turn of no hand, but turn
down indirectly to the Jew's house.

18

Merchant of Venice
[II, 8]

Salarino

1107

A kinder gentleman treads not the earth.
I saw Bassanio and Antonio part:
Bassanio told him he would make some speed
Of his return: he answer'd, 'Do not so;
Slubber not business for my sake, Bassanio
But stay the very riping of the time;
And for the Jew's bond which he hath of me,
Let it not enter in your mind of love:
Be merry, and employ your chiefest thoughts
To courtship and such fair ostents of love
As shall conveniently become you there:'
And even there, his eye being big with tears,
Turning his face, he put his hand behind him,
And with affection wondrous sensible
He wrung Bassanio's hand; and so they parted.

19

Much Ado about Nothing
[II, 1]

Beatrice

538

Nay, if they lead to any ill, I will leave them at
the next turning.

20

Passionate Pilgrim

Shakespeare

228

On a day, alack the day!
Love, whose month was ever May,
Spied a blossom passing fair,
Playing in the wanton air:
Through the velvet leaves the wind
All unseen, gan passage find;
That the lover, sick to death,
Wish'd himself the heaven's breath,
'Air,' quoth he, 'thy cheeks may blow;
Air, would I might triumph so!
But, alas! my hand hath sworn
Ne'er to pluck thee from thy thorn:
Vow, alack! for youth unmeet:
Youth, so apt to pluck a sweet.
Thou for whom Jove would swear
Juno but an Ethiope were;
And deny himself for Jove,
Turning mortal for thy love.'