Love Quotes - Romeo and Juliet | Romeo and Juliet- Summary, Themes & Characters - Novels PDF Download

BENVOLIO 

[…] What sadness lengthens Romeo's hours?

ROMEO 

Not having that, which, having, makes them short.

BENVOLIO 

In love?

ROMEO 

Out—

BENVOLIO 

Of love?

ROMEO 

Out of her favor, where I am in love.

(1.1.168-173)

Way to be totally emo and enigmatic, Romeo. Here's he's completely infatuated with Rosaline. When he's not daydreaming about Rosaline in his room, He's moping around in a grove of "sycamore" trees, where those who are sick amour (sick with love) tend to hang out (1.1). The thing is, Rosaline has absolutely no interest in Romeo, but he pursues her anyway. Maybe he's not in love with Rosaline as he is obsessed with the idea of being in love—

ROMEO 

Love is a smoke raised with the fume of sighs;

Being purged, a fire sparkling in lovers' eyes;

Being vexed a sea nourish'd with loving tears:

What is it else? a madness most discreet,

A choking gall, and a preserving sweet.

(1.1.197-201)

These are pretty big words coming from a teenager. All this abstract language—love as "smoke," as "fire," as a "sea," as "madness"—suggest that maybe Romeo knows more about love from books than, you know, actually being in love.

ROMEO 

Well, in that hit you miss. She'll not be hit

With Cupid's arrow. She hath Dian's wit,

And, in strong proof of chastity well armed,

From love's weak childish bow she lives unharmed.

She will not stay the siege of loving terms,

Nor bide th' encounter of assailing eyes,

Nor ope her lap to saint-seducing gold.

[…]

BENVOLIO 

Then she hath sworn that she will still live chaste?

(1.1.216-222; 225)

Romeo admits that Rosaline has vowed to remain "chaste" like "Diana," the goddess of virginity and hunting. In other words, Rosaline has sworn off boys and sex, which means that Romeo has no chance of winning her heart. What's interesting about this passage is that Romeo sounds a whole lot like a typical "Petrarchan lover." Petrarch, by the way, was a fourteenth-century Italian poet whose sonnets were all the rage in Renaissance England. In fact, Shakespeare's own collection of Sonnets are, in part, inspired by Petrarch's love poetry, which was written about "Laura," a figure who was as unavailable and unattainable as Romeo's current crush (Rosaline). Petrarchan poetry happens to contain a lot of metaphors that equate the pursuit of love with hunting and/or battle. In this passage, Romeo says that Rosaline is well "arm'd" against the "siege" of his love and "Cupid's arrow," which is an elaborate way to say that Rosaline is physically and emotionally impenetrable.

ROMEO

When the devout religion of mine eye

Maintains such falsehood, then turn tears to fire;

And these who, often drowned, could never die,

Transparent heretics, be burnt for liars.

One fairer than my love? The all-seeing sun

Ne'er saw her match since first the world begun.

(1.2.95-100)

Romeo uses religious language to talk about Rosaline

MERCUTIO 

You are a lover. Borrow Cupid's wings

And soar with them above a common bound

ROMEO 

I am too sore enpiercèd with his shaft

To soar with his light feathers, and so bound,

I cannot bound a pitch above dull woe.

Under love's heavy burden do I sink.

MERCUTIO 

And to sink in it should you burden love— 

Too great oppression for a tender thing.

ROMEO 

Is love a tender thing? It is too rough,

Too rude, too boist'rous, and it pricks like thorn.

MERCUTIO 

If love be rough with you, be rough with love.

Prick love for pricking, and you beat love down.

(1.4.17-28)

Romeo and Mercutio describe love in violent and painful terms.

ROMEO 

O, she doth teach the torches to burn bright!

It seems she hangs upon the cheek of night

Like a rich jewel in an Ethiop's ear— 

Beauty too rich for use, for earth too dear.

So shows a snowy dove trooping with crows

As yonder lady o'er her fellows shows.

The measure done, I'll watch her place of stand

And, touching hers, make blessèd my rude hand.

Did my heart love till now? Forswear it, sight,

For I ne'er saw true beauty till this night.

(1.5.51-60)

Hmm, this is interesting. Romeo forgets all about his "love" for Rosaline the exactly second he sees Juliet, which makes us think that he was never really in love with Rosaline to begin with. But does this also mean that Romeo's desire for Juliet is nothing more than meaningless infatuation?

ROMEO 

If I profane with my unworthiest hand

This holy shrine, the gentle fine is this:

My lips, two blushing pilgrims, ready stand

To smooth that rough touch with a tender kiss.

JULIET 

Good pilgrim, you do wrong your hand too much,

Which mannerly devotion shows in this;

For saints have hands that pilgrims' hands do touch,

And palm to palm is holy palmers' kiss.

ROMEO 

Have not saints lips, and holy palmers too?

JULIET 

Ay, pilgrim, lips that they must use in prayer.

ROMEO 

O, then, dear saint, let lips do what hands do.

They pray, grant thou, lest faith turn to despair.

JULIET 

Saints do not move, though grant for prayers' sake.

ROMEO 

Then move not, while my prayer's effect I take.

                                                                    He kisses her.

Thus from my lips, by thine, my sin is purged.

JULIET 

Then have my lips the sin that they have took.

ROMEO 

Sin from thy lips? O trespass sweetly urged!

Give me my sin again.                                He kisses her.

JULIET 

You kiss by th' book.

(1.5.104-122)

This is one of the most famous passages in the entire play, so let's take a close look, shall we? When Romeo and Juliet talk for the first time at the Capulet ball, Romeo uses his best pickup line: touching Juliet's hands and lips, he says, would be a kind of religious experience. (We've heard that before, haven't we? He used to say this kind of stuff about Rosaline.) Angling for a kiss, Romeo refers to his lips as a two "pilgrims" that would worship at a holy "shrine" (that would be Juliet's lips). A pilgrim, by the way, is a person on a religious pilgrimage to a holy place. Pilgrims were also called "palmers" because they often carried palm leaves on their journeys.

In response, Juliet teasingly puns on the word "palmer" to suggest that touching hands, "palm to palm," is like kissing (so Romeo, presumably, should be content with touching her hands instead of making out). But Romeo refuses to be shot down. Instead of walking away with his tail between his legs, he uses Juliet's hands=lips logic to argue that kissing the lips of Juliet (who has reached "saint" status by this point) would be just like praying, which involves placing ones palms together. Juliet seems playfully willing to go along with all this and allows Romeo to kiss her.

What's interesting is that, before Romeo can lock lips for a second time, Juliet says "you kiss by the book," which suggests that all of Romeo's moves (his pickup lines and even the way he kisses) are a bit scripted and cliché. So, Juliet's clearly smitten with Romeo but she also recognizes that Romeo isn't exactly original.

At the same time, however, the dialogue between Romeo and Juliet takes the form of a sonnet (up to the point where they kiss), which is incredibly romantic. So, while Romeo's moves are a bit predictable, we can also recognize that Romeo and Juliet's romance has the potential to be anything but conventional.

ROMEO

But soft, what light through yonder window breaks?

It is the east, and Juliet is the sun.

Arise, fair sun, and kill the envious moon,

Who is already sick and pale with grief

That thou her maid art far more fair than she.

Be not her maid, since she is envious.

Her vestal livery is but sick and green

And none but fools do wear it. Cast it off.

(2.2.2-9)

In this monologue, Romeo elevates Juliet to heavenly status by aligning her with the "sun" and the "stars." Sure, he's still working with some celestial metaphors—but at least it's starting to get slightly less abstract. He even mentions her name!

ROMEO, aside

She speaks.

O, speak again, bright angel, for thou art

As glorious to this night, being o'er my head,

As is a wingèd messenger of heaven

Unto the white-upturnèd wond'ring eyes

Of mortals that fall back to gaze on him

When he bestrides the lazy-pacing clouds

And sails upon the bosom of the air.

(2.2.28-35)

Again, Romeo uses over-the-top religious language to describe the experience of looking at Juliet but we get the sense that he's sincere and deeply in love.

JULIET 

How camest thou hither, tell me, and wherefore?

The orchard walls are high and hard to climb,

And the place death, considering who thou art,

If any of my kinsmen find thee here.

ROMEO 

With love's light wings did I o'er-perch these walls;

For stony limits cannot hold love out,

And what love can do that dares love attempt.

Therefore thy kinsmen are no let to me.

JULIET 

If they do see thee, they will murder thee.

ROMEO 

Alack, there lies more peril in thine eye

Than twenty of their swords: look thou but sweet,

And I am proof against their enmity.

JULIET 

I would not for the world they saw thee here.

ROMEO 

I have night's cloak to hide me from their eyes.

And, but thou love me, let them find me here.

My life were better ended by their hate

Than death prorogued, wanting of thy love.

JULIET 

By whose direction found'st thou out this place?

ROMEO 

By love, who first did prompt me to inquire.

He lent me counsel and I lent him eyes.

I am no pilot; yet, wert thou as far

As that vast shore wash'd with the farthest sea,

I would adventure for such merchandise.

(2.2.67-89)

Romeo is eager to prove to Juliet that he loves her, while Juliet – despite the confession that Romeo overhears – is hesitant to reveal that she likes him right away.

JULIET

Well, do not swear. Although I joy in thee,

I have no joy of this contract tonight.

It is too rash, too unadvised, too sudden,

Too like the lightning, which doth cease to be

Ere one can say 'It lightens.' Sweet, good night.

This bud of love, by summer's ripening breath,

May prove a beauteous flower when next we meet.

Good night, good night. As sweet repose and rest

Come to thy heart as that within my breast. (2.2.123-131)

Juliet is certain that she loves Romeo but she's also a bit cautious because her love seems "too rash, too unadvised, too sudden." So, while Juliet is clearly a very passionate girl, she's also pretty smart and realizes that head-over-heels passion can be dangerous.

JULIET

I have forgot why I did call thee back.

ROMEO 

Let me stand here till thou remember it.

JULIET 

I shall forget, to have thee still stand there,

Rememb'ring how I love thy company.

ROMEO 

And I'll still stay, to have thee still forget,

Forgetting any other home but this.

(2.2.184-189)

Translation: "You hang up." "No, you hang up." "No, you hang up." "Okay, I'm going." "Are you still there?" (Do kids these days even have these conversations anymore? Or is it all texting and gChat? Someone clue us in; we're old.)

ROMEO 

Ah, Juliet, if the measure of thy joy

Be heaped like mine, and that thy skill be more

To blazon it, then sweeten with thy breath

This neighbor air, and let rich music's tongue

Unfold the imagined happiness that both

Receive in either by this dear encounter.

JULIET 

Conceit, more rich in matter than in words,

Brags of his substance, not of ornament.

They are but beggars that can count their worth,

But my true love is grown to such excess

I cannot sum up sum of half my wealth.

(2.6.24-34)

Romeo asks Juliet to use language to express the love that they feel for each other, but Juliet tells him that's the wrong approach. The love they share has grown so great that they can no longer express it. (A similar idea occurs in King Lear, when Cordelia refuses to quantify her love for her father and says that language is not capable of expressing her devotion.)

ROMEO

How oft when men are at the point of death

Have they been merry, which their keepers call

A light'ning before death! O, how may I

Call this a light'ning?—O my love! my wife,

Death, that hath sucked the honey of thy breath,

Hath had no power yet upon thy beauty.

Thou art not conquered. Beauty's ensign yet

Is crimson in thy lips and in thy cheeks,

And death's pale flag is not advancèd there.— 

Tybalt, liest thou there in thy bloody sheet?

O, what more favor can I do to thee,

Than with that hand that cut thy youth in twain

To sunder his that was thine enemy?

Forgive me, cousin—Ah, dear Juliet,

Why art thou yet so fair? Shall I believe

That unsubstantial death is amorous,

And that the lean abhorred monster keeps

Thee here in dark to be his paramour?

For fear of that, I still will stay with thee

And never from this palace of dim night

Depart again. Here, here will I remain

With worms that are thy chamber-maids. O, here

Will I set up my everlasting rest,

And shake the yoke of inauspicious stars

From this world-wearied flesh! Eyes, look your last.

Arms, take your last embrace. And, lips, O, you

The doors of breath, seal with a righteous kiss

A dateless bargain to engrossing death.

                                                                   Kissing Juliet

Come, bitter conduct, come, unsavoury guide!

Thou desperate pilot, now at once run on

The dashing rocks thy seasick weary bark!

Here's to my love! Drinking. O true apothecary,

Thy drugs are quick. Thus with a kiss I die.

(5.3.88-120)

Death becomes an act of love for Romeo, because he thinks that suicide will enable him to be with Juliet (he thinks she's dead). Check out "Symbols" for more on this.

JULIET 

My only love sprung from my only hate!

Too early seen unknown, and known too late!

Prodigious birth of love it is to me

That I must love a loathèd enemy.

(1.5.152-155)

Apparently, Juliet never even considers the obvious conclusion: don't date your family's archnemesis. That makes "love" sound a lot like "fate"—something you couldn't escape even if you wanted to.

JULIET 

Do not swear at all.

Or, if thou wilt, swear by thy gracious self,

Which is the god of my idolatry,

And I'll believe thee.

(2.2.118-121)

Is it just us or is Juliet beginning to sound like Romeo. Here, she uses the language of religion to describe her love for Romeo. Check out "Symbols" for more on this.

JULIET 

Gallop apace, you fiery-footed steeds,

Towards Phoebus' lodging. Such a wagoner

As Phaëthon would whip you to the west

And bring in cloudy night immediately.

Spread thy close curtain, love-performing night,

That runaway's eyes may wink, and Romeo

Leap to these arms, untalked of and unseen.

Lovers can see to do their amorous rites

By their own beauties, or, if love be blind,

It best agrees with night. Come, civil night,

Thou sober-suited matron, all in black,

And learn me how to lose a winning match

Played for a pair of stainless maidenhoods.

Hood my unmann'd blood, bating in my cheeks,

With thy black mantle till strange love grown bold,

Think true love acted simple modesty.

Come, night. Come, Romeo. Come, thou day in 

   night.

For thou wilt lie upon the wings of night

Whiter than new snow on a raven's back.

Come, gentle night; come, loving, black-browed 

   night,

Give me my Romeo, and when he shall die,

Take him and cut him out in little stars,

And he will make the face of heaven so fine

That all the world will be in love with night

And pay no worship to the garish sun.

O, I have bought the mansion of a love

But not possessed it, and, though I am sold,

Not yet enjoyed. So tedious is this day

As is the night before some festival

To an impatient child that hath new robes

And may not wear them. 

(3.2.1-33)

Juliet is both excited and nervous about losing her virginity. She feels that her love for Romeo is so strong that it could overpower the sun.

LADY CAPULET 

Well, girl, thou weep'st not so much for his death

As that the villain lives which slaughtered him.

JULIET 

What villain, madam?

LADY CAPULET 

That same villain, Romeo.

JULIET, aside 

Villain and he be many miles asunder.— 

God Pardon him. I do, with all my heart,

And yet no man like he doth grieve my heart.

LADY CAPULET 

That is because the traitor murderer lives.

JULIET 

Ay, madam, from the reach of these my hands.

Would none but I might venge my cousin's death!

LADY CAPULET 

We will have vengeance for it, fear thou not.

Then weep no more. I'll send to one in Mantua,

Where that same banished runagate doth live,

Shall give him such an unaccustomed dram

That he shall soon keep Tybalt company.

And then, I hope, thou wilt be satisfied.

JULIET 

Indeed, I never shall be satisfied

With Romeo, till I behold him—dead— 

Is my poor heart for a kinsman vexed.

Madam, if you could find out but a man

To bear a poison, I would temper it,

That Romeo should, upon receipt thereof,

Soon sleep in quiet. O, how my heart abhors

To hear him named and cannot come to him

To wreak the love I bore my cousin

Upon his body that slaughtered him.

(3.5.82-107)

Juliet cannot tell her mother about her true feelings for Romeo, so she expresses her feelings in veiled language that makes her mother believe she hates him.

JULIET 

O, bid me leap, rather than marry Paris,

From off the battlements of yonder tower,

Or walk in thievish ways, or bid me lurk

Where serpents are. Chain me with roaring bears;

Or shut me nightly in a charnel house,

O'ercovered quite with dead men's rattling bones,

With reeky shanks and yellow chapless skulls.

Or bid me go into a new-made grave

And hide me with a dead man in his shroud

(Things that, to hear them told, have made me 

   tremble),

And I will do it without fear or doubt,

To live an unstained wife to my sweet love.

(4.1.78-90)

All the things that used to frighten Juliet are now unimportant compared to the horror of betraying Romeo and marrying another man.

MERCUTIO 

Why, is not this better now than groaning 

for love? Now art thou sociable, now art thou 

Romeo, now art thou what thou art, by art as well as 

by nature. For this driveling love is like a great 

natural, that runs lolling up and down to hide his 

bauble in a hole.

(2.4.90-95)

To Mercutio, love is ridiculous and gets in the way of real life. Not only that, but Romeo's passion for Rosaline has alienated him from his friends.

PARIS

These times of woe afford no time to woo.— 

(3.4.8)

After Tybalt dies, Paris is more bummed out that he doesn't have time to make nice with Juliet than that this young man has died. Gee, he sounds awfully passionate. (Not.)

FRIAR LAURENCE

Holy Saint Francis, what a change is here!

Is Rosaline, whom thou didst love so dear,

So soon forsaken? Young men's love then lies

Not truly in their hearts, but in their eyes.

(2.2.69-72)

Friar Laurence makes a convincing argument that Romeo's love for Juliet could nothing more than a crush. Just days ago Romeo was crying his eyes out over another woman, the unattainable Rosaline. Now, the "salt water" tears haven't even dried yet and he's talking about a new love interest.

Okay, Friar Laurence has good reason to be skeptical of Romeo's newfound "love." But, if he's so skeptical of the relationship, why does he agree to secretly marry the young couple? Well, he tells us: "For this alliance may so happy prove/ To turn your households' rancour to pure love" (2.3.87-88).

In other words, Friar Laurence is crossing his fingers a union between Romeo and Juliet will force the feuding families to reconcile. But good intentions aren't enough. His meddling may not be solely responsible for the tragedy, but it's at least partly responsible. At the same time, Romeo and Juliet's love does eventually bring the two families together—but only after a double suicide.

CAPULET 

O brother Montague, give me thy hand.

This is my daughter's jointure, for no more

Can I demand.

MONTAGUE 

But I can give thee more,

For I will raise her statue in pure gold,

That while Verona by that name is known,

There shall no figure at such rate be set

As that of true and faithful Juliet. 

CAPULET 

As rich shall Romeo's by his lady's lie;

Poor sacrifices of our enmity. (5.3.306-315)

After Romeo and Juliet are found dead, Montague offers to erect a "statue" of "pure gold" in Juliet's honor and Capulet promise to do the same for his dead son-in-law, Romeo. Although the young lovers' deaths unite the warring families and put an end to the feud (just as the Chorus promised back in the first Prologue), the efforts of the Capulets and the Montagues are a day late and a dollar short.

ROMEO 

With love's light wings did I o'erperch these walls,

For stony limits cannot hold love out,

And what love can do that dares love attempt.

Therefore thy kinsmen are no let to me.

(2.2.71-74)

We hear an echo of the Biblical Song of Songs here: "Many waters cannot quench love, neither can the floods drown it." Romeo just won't let up with the religious allusions—for him, love is a religious experience. (But not in the cliché way, he swears.)

JULIET .

Lovers can see to do their amorous rites

By their own beauties, or, if love be blind,

It best agrees with night. Come, civil night,

Thou sober-suited matron all in black,

And learn me how to lose a winning match

Played for a pair of stainless maidenhoods.

Hood my unmanned blood, bating in my cheeks,

With thy black mantle till strange love grown bold,

Think true love acted simple modesty.

(3.2.8-16)

Talk about wedding-night jitters: this is Juliet getting all excited and nervous about having sex for the very first time, i.e. "losing" her "stainless maidenhoods." "Unmann'd blood"—get it?