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Love’s Labour’s Lost: Act 1, Scene 2

Love’s Labour’s Lost
Act 1, Scene 2

The King of Navarre’s park.

  1. Enter Armado and Moth, his page.

Armado

2 - 3
  1. Boy, what sign is it when a man of great spirit grows
  2. melancholy?

Moth

4
  1. A great sign, sir, that he will look sad.

Armado

5
  1. Why, sadness is one and the self-same thing, dear imp.

Moth

6
  1. No, no, O Lord, sir, no.

Armado

7 - 8
  1. How canst thou part sadness and melancholy, my tender
  2. juvenal?

Moth

9 - 10
  1. By a familiar demonstration of the working, my tough
  2. signior.

Armado

11
  1. Why tough signior? Why tough signior?

Moth

12
  1. Why tender juvenal? Why tender juvenal?

Armado

13 - 15
  1. I spoke it tender juvenal as a congruent epitheton
  2. appertaining to thy young days, which we may nominate
  3. tender.

Moth

16 - 17
  1. And I tough signior as an appertinent title to your old
  2. time, which we may name tough.

Armado

18
  1. Pretty and apt.

Moth

19 - 20
  1. How mean you, sir? I pretty, and my saying apt? Or I apt,
  2. and my saying pretty?

Armado

21
  1. Thou pretty, because little.

Moth

22
  1. Little pretty, because little. Wherefore apt?

Armado

23
  1. And therefore apt, because quick.

Moth

24
  1. Speak you this in my praise, master?

Armado

25
  1. In thy condign praise.

Moth

26
  1. I will praise an eel with the same praise.

Armado

27
  1. What? That an eel is ingenious?

Moth

28
  1. That an eel is quick.

Armado

29
  1. I do say thou art quick in answers; thou heat’st my blood.

Moth

30
  1. I am answer’d, sir.

Armado

31
  1. I love not to be cross’d.

Moth

32 - 33
  1. Aside.
  2. He speaks the mere contrary, crosses love not him.

Armado

34
  1. I have promised to study three years with the Duke.

Moth

35
  1. You may do it in an hour, sir.

Armado

36
  1. Impossible.

Moth

37
  1. How many is one thrice told?

Armado

38
  1. I am ill at reck’ning, it fitteth the spirit of a tapster.

Moth

39
  1. You are a gentleman and a gamester, sir.

Armado

40
  1. I confess both, they are both the varnish of a complete man.

Moth

41 - 42
  1. Then I am sure you know how much the gross sum of deuce-ace
  2. amounts to.

Armado

43
  1. It doth amount to one more than two.

Moth

44
  1. Which the base vulgar do call three.

Armado

45
  1. True.

Moth

46 - 49
  1. Why, sir, is this such a piece of study? Now here is three
  2. studied ere ye’ll thrice wink; and how easy it is to put
  3. years to the word three,” and study three years in two
  4. words, the dancing horse will tell you.

Armado

50
  1. A most fine figure!

Moth

51 - 52
  1. Aside.
  2. To prove you a cipher.

Armado

53 - 60
  1. I will hereupon confess I am in love; and as it is base for
  2. a soldier to love, so am I in love with a base wench. If
  3. drawing my sword against the humor of affection would
  4. deliver me from the reprobate thought of it, I would take
  5. Desire prisoner, and ransom him to any French courtier for a
  6. new devis’d cur’sy. I think scorn to sigh; methinks I should
  7. outswear Cupid. Comfort me, boy: what great men have been in
  8. love?

Moth

61
  1. Hercules, master.

Armado

62 - 64
  1. Most sweet Hercules! More authority, dear boy, name more;
  2. and, sweet my child, let them be men of good repute and
  3. carriage.

Moth

65 - 67
  1. Sampson, master; he was a man of good carriage, great
  2. carriage, for he carried the town gates on his back like a
  3. porter; and he was in love.

Armado

68 - 70
  1. O well-knit Sampson, strong-jointed Sampson! I do excel thee
  2. in my rapier as much as thou didst me in carrying gates. I
  3. am in love too. Who was Sampson’s love, my dear Moth?

Moth

71
  1. A woman, master.

Armado

72
  1. Of what complexion?

Moth

73 - 74
  1. Of all the four, or the three, or the two, or one of the
  2. four.

Armado

75
  1. Tell me precisely of what complexion.

Moth

76
  1. Of the sea-water green, sir.

Armado

77
  1. Is that one of the four complexions?

Moth

78
  1. As I have read, sir, and the best of them too.

Armado

79 - 81
  1. Green indeed is the color of lovers; but to have a love of
  2. that color, methinks Sampson had small reason for it. He
  3. surely affected her for her wit.

Moth

82
  1. It was so, sir, for she had a green wit.

Armado

83
  1. My love is most immaculate white and red.

Moth

84 - 85
  1. Most maculate thoughts, master, are mask’d under such
  2. colors.

Armado

86
  1. Define, define, well-educated infant.

Moth

87
  1. My father’s wit and my mother’s tongue assist me!

Armado

88
  1. Sweet invocation of a child, most pretty and pathetical!

Moth

89 - 97
  1. If she be made of white and red,
  2. Her faults will ne’er be known,
  3. For blush in cheeks by faults are bred,
  4. And fears by pale white shown:
  5. Then if she fear, or be to blame,
  6. By this you shall not know,
  7. For still her cheeks possess the same
  8. Which native she doth owe.
  9. A dangerous rhyme, master, against the reason of white and red.

Armado

98
  1. Is there not a ballet, boy, of the King and the Beggar?

Moth

99 - 101
  1. The world was very guilty of such a ballet some three ages
  2. since, but I think now ’tis not to be found; or if it were,
  3. it would neither serve for the writing nor the tune.

Armado

102 - 105
  1. I will have that subject newly writ o’er, that I may example
  2. my digression by some mighty president. Boy, I do love that
  3. country girl that I took in the park with the rational hind
  4. Costard. She deserves well.

Moth

106 - 107
  1. Aside.
  2. To be whipt; and yet a better love than my master.

Armado

108
  1. Sing, boy, my spirit grows heavy in love.

Moth

109
  1. And that’s great marvel, loving a light wench.

Armado

110
  1. I say, sing.

Moth

111
  1. Forbear till this company be past.
  1. Enter Clown Costard, Constable Dull, and Wench Jaquenetta.

Dull

113 - 117
  1. Sir, the Duke’s pleasure is that you keep Costard safe, and
  2. you must suffer him to take no delight nor no penance, but
  3. ’a must fast three days a week. For this damsel, I must keep
  4. her at the park; she is allow’d for the dey-woman. Fare you
  5. well.

Armado

118
  1. I do betray myself with blushing. Maid.

Jaquenetta

119
  1. Man.

Armado

120
  1. I will visit thee at the lodge.

Jaquenetta

121
  1. That’s hereby.

Armado

122
  1. I know where it is situate.

Jaquenetta

123
  1. Lord, how wise you are!

Armado

124
  1. I will tell thee wonders.

Jaquenetta

125
  1. With that face?

Armado

126
  1. I love thee.

Jaquenetta

127
  1. So I heard you say.

Armado

128
  1. And so farewell.

Jaquenetta

129
  1. Fair weather after you!

Dull

130
  1. Come, Jaquenetta, away.
  1. Exeunt Dull and Jaquenetta.

Armado

132 - 133
  1. Villain, thou shalt fast for thy offenses ere thou be
  2. pardoned.

Costard

134 - 135
  1. Well, sir, I hope when I do it I shall do it on a full
  2. stomach.

Armado

136
  1. Thou shalt be heavily punished.

Costard

137 - 138
  1. I am more bound to you than your fellows, for they are but
  2. lightly rewarded.

Armado

139
  1. Take away this villain, shut him up.

Moth

140
  1. Come, you transgressing slave, away.

Costard

141
  1. Let me not be pent up, sir; I will fast, being loose.

Moth

142
  1. No, sir, that were fast and loose; thou shalt to prison.

Costard

143 - 144
  1. Well, if ever I do see the merry days of desolation that I
  2. have seen, some shall see.

Moth

145
  1. What shall some see?

Costard

146 - 149
  1. Nay, nothing, Master Moth, but what they look upon. It is
  2. not for prisoners to be too silent in their words, and
  3. therefore I will say nothing. I thank God I have as little
  4. patience as another man, and therefore I can be quiet.
  1. Exit with Moth.

Armado

151 - 167
  1. I do affect the very ground (which is base) where her shoe
  2. (which is baser) guided by her foot (which is basest) doth
  3. tread. I shall be forsworn (which is a great argument of
  4. falsehood) if I love. And how can that be true love, which
  5. is falsely attempted? Love is a familiar; Love is a devil;
  6. there is no evil angel but Love. Yet was Sampson so tempted,
  7. and he had an excellent strength; yet was Salomon so
  8. seduced, and he had a very good wit. Cupid’s butt-shaft is
  9. too hard for Hercules’ club, and therefore too much odds for
  10. a Spaniard’s rapier. The first and second cause will not
  11. serve my turn; the passado he respects not, the duello he
  12. regards not: his disgrace is to be called boy, but his glory
  13. is to subdue men. Adieu, valor, rust, rapier, be still,
  14. drum, for your manager is in love; yea, he loveth. Assist
  15. me, some extemporal god of rhyme, for I am sure I shall turn
  16. sonnet. Devise, wit, write, pen, for I am for whole volumes
  17. in folio.
  1. Exit.
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