# 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

Henry IV, Part II
[I, 1]

Lord Bardolph

44

Who keeps the gate here, ho? [The PORTER opens the gate]
Where is the Earl?

2

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.

3

Julius Caesar
[I, 3]

Cassius

483

You are dull, Casca, and those sparks of life
That should be in a Roman you do want,
Or else you use not. You look pale and gaze
And put on fear and cast yourself in wonder,
To see the strange impatience of the heavens:
But if you would consider the true cause
Why all these fires, why all these gliding ghosts,
Why birds and beasts from quality and kind,
Why old men fool and children calculate,
Why all these things change from their ordinance
Their natures and preformed faculties
To monstrous quality,—why, you shall find
That heaven hath infused them with these spirits,
To make them instruments of fear and warning
Unto some monstrous state.
Now could I, Casca, name to thee a man
Most like this dreadful night,
That thunders, lightens, opens graves, and roars
As doth the lion in the Capitol,
A man no mightier than thyself or me
In personal action, yet prodigious grown
And fearful, as these strange eruptions are.

4

Julius Caesar
[II, 1]

Brutus

648

The exhalations whizzing in the air
Give so much light that I may read by them.
[Opens the letter and reads]
'Brutus, thou sleep'st: awake, and see thyself.
Shall Rome, &c. Speak, strike, redress!
Brutus, thou sleep'st: awake!'
Such instigations have been often dropp'd
Where I have took them up.
'Shall Rome, &c.' Thus must I piece it out:
Shall Rome stand under one man's awe? What, Rome?
My ancestors did from the streets of Rome
The Tarquin drive, when he was call'd a king.
'Speak, strike, redress!' Am I entreated
To speak and strike? O Rome, I make thee promise:
If the redress will follow, thou receivest
Thy full petition at the hand of Brutus!

5

Macbeth
[II, 3]

(stage directions)

780

[Opens the gate]

6

Merchant of Venice
[II, 9]

(stage directions)

1182

[He opens the silver casket]

7

Othello
[IV, 1]

(stage directions)

2654

[Opens the letter, and reads]

8

Rape of Lucrece

Shakespeare

409

This said, his guilty hand pluck'd up the latch,
And with his knee the door he opens wide.
The dove sleeps fast that this night-owl will catch:
Thus treason works ere traitors be espied.
Who sees the lurking serpent steps aside;
But she, sound sleeping, fearing no such thing,
Lies at the mercy of his mortal sting.

9

Richard III
[I, 4]

First Murderer

958

So when he opens his purse to give us our reward,
thy conscience flies out.

10

Romeo and Juliet
[V, 3]

(stage directions)

2987

[Opens the tomb]

11

Timon of Athens
[V, 1]

Painter

2281

Good as the best. Promising is the very air o' the
time: it opens the eyes of expectation:
performance is ever the duller for his act; and,
but in the plainer and simpler kind of people, the
deed of saying is quite out of use. To promise is
most courtly and fashionable: performance is a kind
of will or testament which argues a great sickness
in his judgment that makes it.

12

Venus and Adonis

Shakespeare

977

Here overcome, as one full of despair,
She vail'd her eyelids, who, like sluices, stopt
The crystal tide that from her two cheeks fair
In the sweet channel of her bosom dropt;
But through the flood-gates breaks the silver rain,
And with his strong course opens them again.