There are numbers of the best quotes about secrecy that decorated the remarkable play Romeo and Juliet. Here are some of the best.

1. 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! —Just before he takes the poison, Romeo takes his farewell of Juliet with a kiss.

2. . . stony limits cannot hold love out, And what love can do, that dares love attempt. —When Juliet asks how he managed to get over the high wall to Capulet's garden, Romeo replies that he flew on the wings of love, which is stronger than "stony limits.

3. Alack, there lies more peril in thine eye Than twenty of their swords! —When Juliet warns Romeo that her kinsmen will kill him if they find him in the Capulet's garden, Romeo replies that her beauty is more likely to kill him than is a Capulet sword.

4. O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear; Beauty too rich for use, for earth too dear! —Upon first seeing Juliet, Romeo is struck into wonderment by her beauty.

5. Adversity’s sweet milk, philosophy. —Trying to talk Romeo out of his despair over being banished, Friar Laurence says that "philosophy" (rational thought) can cure him.

6. Thy old groans ring yet in my ancient ears. —When Romeo tells Friar Laurence that he wants to be married to Juliet, the Friar exclaims on the change; he can still hear Romeo's groans of love for Rosaline. Secrecy is beautifully managed in Romeo and Juliet because the play is about the notion which is opposed to the society; love.

This has taken me hours, but I’ve found every single quote in Act II for you. Hope you’re suitably grateful.

There you go:

ACT II

PROLOGUE

Enter Chorus

Chorus

Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groan'd for and would die,
With tender Juliet match'd, is now not fair.
Now Romeo is beloved and loves again,
Alike betwitched by the charm of looks,
But to his foe supposed he must complain,
And she steal love's sweet bait from fearful hooks:
Being held a foe, he may not have access
To breathe such vows as lovers use to swear;
And she as much in love, her means much less
To meet her new-beloved any where:
But passion lends them power, time means, to meet
Tempering extremities with extreme sweet.

Exit

SCENE I. A lane by the wall of Capulet's orchard.

Enter ROMEO

ROMEO

Can I go forward when my heart is here?
Turn back, dull earth, and find thy centre out.

He climbs the wall, and leaps down within it

Enter BENVOLIO and MERCUTIO

BENVOLIO

Romeo! my cousin Romeo!

MERCUTIO

He is wise;
And, on my lie, hath stol'n him home to bed.

BENVOLIO

He ran this way, and leap'd this orchard wall:
Call, good Mercutio.

MERCUTIO

Nay, I'll conjure too.
Romeo! humours! madman! passion! lover!
Appear thou in the likeness of a sigh:
Speak but one rhyme, and I am satisfied;
Cry but 'Ay me!' pronounce but 'love' and 'dove;'
Speak to my gossip Venus one fair word,
One nick-name for her purblind son and heir,
Young Adam Cupid, he that shot so trim,
When King Cophetua loved the beggar-maid!
He heareth not, he stirreth not, he moveth not;
The ape is dead, and I must conjure him.
I conjure thee by Rosaline's bright eyes,
By her high forehead and her scarlet lip,
By her fine foot, straight leg and quivering thigh
And the demesnes that there adjacent lie,
That in thy likeness thou appear to us!

BENVOLIO

And if he hear thee, thou wilt anger him.

MERCUTIO

This cannot anger him: 'twould anger him
To raise a spirit in his mistress' circle
Of some strange nature, letting it there stand
Till she had laid it and conjured it down;
That were some spite: my invocation
Is fair and honest, and in his mistres s' name
I conjure only but to raise up him.

BENVOLIO

Come, he hath hid himself among these trees,
To be consorted with the humorous night:
Blind is his love and best befits the dark.

MERCUTIO

If love be blind, love cannot hit the mark.
Now will he sit under a medlar tree,
And wish his mistress were that kind of fruit
As maids call medlars, when they laugh alone.
Romeo, that she were, O, that she were
An open et caetera, thou a poperin pear!
Romeo, good night: I'll to my truckle-bed;
This field-bed is too cold for me to sleep:
Come, shall we go?

BENVOLIO

Go, then; for 'tis in vain
To seek him here that means not to be found.

Exeunt

SCENE II. Capulet's orchard.

Enter ROMEO

ROMEO

He jests at scars that never felt a wound.

JULIET appears above at a window

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.
It is my lady, O, it is my love!
O, that she knew she were!
She speaks yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold, 'tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!

JULIET

Ay me!

ROMEO

She speaks:
O, speak again, bright angel! for thou art
As glorious to this night, being o'er my head
As is a winged messenger of heaven
Unto the white-upturned wondering 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.

JULIET

O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.

ROMEO

[Aside] Shall I hear more, or shall I speak at this?

JULIET

'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.

ROMEO

I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.

JULIET

What man art thou that thus bescreen'd in night
So stumblest on my counsel?

ROMEO

By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.

JULIET

My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?

ROMEO

Neither, fair saint, if either thee dislike.

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 sight;
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.

JULIET

Thou know'st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false; at lovers' perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think'st I am too quickly won,
I'll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my 'havior light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true love's passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.

ROMEO

Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops--

JULIET

O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.

ROMEO

What shall I swear by?

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.

ROMEO

If my heart's dear love--

JULIET

Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
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!

ROMEO

O, wilt thou leave me so unsatisfied?

JULIET

What satisfaction canst thou have to-night?

ROMEO

The exchange of thy love's faithful vow for mine.

JULIET

I gave thee mine before thou didst request it:
And yet I would it were to give again.

ROMEO

Wouldst thou withdraw it? for what purpose, love?

JULIET

But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.

Nurse calls within

I hear some noise within; dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.

Exit, above

ROMEO

O blessed, blessed night! I am afeard.
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.

Re-enter JULIET, above

JULIET

Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word to-morrow,
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite;
And all my fortunes at thy foot I'll lay
And follow thee my lord throughout the world.

Nurse

[Within] Madam!

JULIET

I come, anon.--But if thou mean'st not well,
I do beseech thee--

Nurse

[Within] Madam!

JULIET

By and by, I come:--
To cease thy suit, and leave me to my grief:
To-morrow will I send.

ROMEO

So thrive my soul--

JULIET

A thousand times good night!

Exit, above

ROMEO

A thousand times the worse, to want thy light.
Love goes toward love, as schoolboys from
their books,
But love from love, toward school with heavy looks.

Retiring

Re-enter JULIET, above

JULIET

Hist! Romeo, hist! O, for a falconer's voice,
To lure this tassel-gentle back again!
Bondage is hoarse, and may not speak aloud;
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine,
With repetition of my Romeo's name.

ROMEO

It is my soul that calls upon my name:
How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!

JULIET

Romeo!

ROMEO

My dear?

JULIET

At what o'clock to-morrow
Shall I send to thee?

ROMEO

At the hour of nine.

JULIET

I will not fail: 'tis twenty years till then.
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,
Remembering how I love thy company.

ROMEO

And I'll still stay, to have thee still forget,
Forgetting any other home but this.

JULIET

'Tis almost morning; I would have thee gone:
And yet no further than a wanton's bird;
Who lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.

ROMEO

I would I were thy bird.

JULIET

Sweet, so would I:
Yet I should kill thee with much cherishing.
Good night, good night! parting is such
sweet sorrow,
That I shall say good night till it be morrow.

Exit above

ROMEO

Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly father's cell,
His help to crave, and my dear hap to tell.

Exit

SCENE III. Friar Laurence's cell.

Enter FRIAR LAURENCE, with a basket

FRIAR LAURENCE

The grey-eyed morn smiles on the frowning night,
Chequering the eastern clouds with streaks of light,
And flecked darkness like a drunkard reels
From forth day's path and Titan's fiery wheels:
Now, ere the sun advance his burning eye,
The day to cheer and night's dank dew to dry,
I must up-fill this osier cage of ours
With baleful weeds and precious-juiced flowers.
The earth that's nature's mother is her tomb;
What is her burying grave that is her womb,
And from her womb children of divers kind
We sucking on her natural bosom find,
Many for many virtues excellent,
None but for some and yet all different.
O, mickle is the powerful grace that lies
In herbs, plants, stones, and their true qualities:
For nought so vile that on the earth doth live
But to the earth some special good doth give,
Nor aught so good but strain'd from that fair use
Revolts from true birth, stumbling on abuse:
Virtue itself turns vice, being misapplied;
And vice sometimes by action dignified.
Within the infant rind of this small flower
Poison hath residence and medicine power:
For this, being smelt, with that part cheers each part;
Being tasted, slays all senses with the heart.
Two such opposed kings encamp them still
In man as well as herbs, grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant.

Enter ROMEO

ROMEO

Good morrow, father.

FRIAR LAURENCE

Benedicite!
What early tongue so sweet saluteth me?
Young son, it argues a distemper'd head
So soon to bid good morrow to thy bed:
Care keeps his watch in every old man's eye,
And where care lodges, sleep will never lie;
But where unbruised youth with unstuff'd brain
Doth couch his limbs, there golden sleep doth reign:
Therefore thy earliness doth me assure
Thou art up-roused by some distemperature;
Or if not so, then here I hit it right,
Our Romeo hath not been in bed to-night.

ROMEO

That last is true; the sweeter rest was mine.

FRIAR LAURENCE

God pardon sin! wast thou with Rosaline?

ROMEO

With Rosaline, my ghostly father? no;
I have forgot that name, and that name's woe.

FRIAR LAURENCE

That's my good son: but where hast thou been, then?

ROMEO

I'll tell thee, ere thou ask it me again.
I have been feasting with mine enemy,
Where on a sudden one hath wounded me,
That's by me wounded: both our remedies
Within thy help and holy physic lies:
I bear no hatred, blessed man, for, lo,
My intercession likewise steads my foe.

FRIAR LAURENCE

Be plain, good son, and homely in thy drift;
Riddling confession finds but riddling shrift.

ROMEO

Then plainly know my heart's dear love is set
On the fair daughter of rich Capulet:
As mine on hers, so hers is set on mine;
And all combined, save what thou must combine
By holy marriage: when and where and how
We met, we woo'd and made exchange of vow,
I'll tell thee as we pass; but this I pray,
That thou consent to marry us to-day.

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.
Jesu Maria, what a deal of brine
Hath wash'd thy sallow cheeks for Rosaline!
How much salt water thrown away in waste,
To season love, that of it doth not taste!
The sun not yet thy sighs from heaven clears,
Thy old groans ring yet in my ancient ears;
Lo, here upon thy cheek the stain doth sit
Of an old tear that is not wash'd off yet:
If e'er thou wast thyself and these woes thine,
Thou and these woes were all for Rosaline:
And art thou changed? pronounce this sentence then,
Women may fall, when there's no strength in men.

ROMEO

Thou chid'st me oft for loving Rosaline.

FRIAR LAURENCE

For doting, not for loving, pupil mine.

ROMEO

And bad'st me bury love.

FRIAR LAURENCE

Not in a grave,
To lay one in, another out to have.

ROMEO

I pray thee, chide not; she whom I love now
Doth grace for grace and love for love allow;
The other did not so.

FRIAR LAURENCE

O, she knew well
Thy love did read by rote and could not spell.
But come, young waverer, come, go with me,
In one respect I'll thy assistant be;
For this alliance may so happy prove,
To turn your households' rancour to pure love.

ROMEO

O, let us hence; I stand on sudden haste.

FRIAR LAURENCE

Wisely and slow; they stumble that run fast.

Exeunt

SCENE IV. A street.

Enter BENVOLIO and MERCUTIO

MERCUTIO

Where the devil should this Romeo be?
Came he not home to-night?

BENVOLIO

Not to his father's; I spoke with his man.

MERCUTIO

Ah, that same pale hard-hearted wench, that Rosaline.
Torments him so, that he will sure run mad.

BENVOLIO

Tybalt, the kinsman of old Capulet,
Hath sent a letter to his father's house.

MERCUTIO

A challenge, on my life.

BENVOLIO

Romeo will answer it.

MERCUTIO

Any man that can write may answer a letter.

BENVOLIO

Nay, he will answer the letter's master, how he
dares, being dared.

MERCUTIO

Alas poor Romeo! he is already dead; stabbed with a
white wench's black eye; shot through the ear with a
love-song; the very pin of his heart cleft with the
blind bow-boy's butt-shaft: and is he a man to
encounter Tybalt?

BENVOLIO

Why, what is Tybalt?

MERCUTIO

More than prince of cats, I can tell you. O, he is
the courageous captain of compliments. He fights as
you sing prick-song, keeps time, distance, and
proportion; rests me his minim rest, one, two, and
the third in your bosom: the very butcher of a silk
button, a duellist, a duellist; a gentleman of the
very first house, of the first and second cause:
ah, the immortal passado! the punto reverso! the
hai!

BENVOLIO

The what?

MERCUTIO

The pox of such antic, lisping, affecting
fantasticoes; these new tuners of accents! 'By Jesu,
a very good blade! a very tall man! a very good
whore!' Why, is not this a lamentable thing,
grandsire, that we should be thus afflicted with
these strange flies, these fashion-mongers, these
perdona-mi's, who stand so much on the new form,
that they cannot at ease on the old bench? O, their
bones, their bones!

Enter ROMEO

BENVOLIO

Here comes Romeo, here comes Romeo.

MERCUTIO

Without his roe, like a dried herring: flesh, flesh,
how art thou fishified! Now is he for the numbers
that Petrarch flowed in: Laura to his lady was but a
kitchen-wench; marry, she had a better love to
be-rhyme her; Dido a dowdy; Cleopatra a gipsy;
Helen and Hero hildings and harlots; Thisbe a grey
eye or so, but not to the purpose. Signior
Romeo, bon jour! there's a French salutation
to your French slop. You gave us the counterfeit
fairly last night.

ROMEO

Good morrow to you both. What counterfeit did I give you?

MERCUTIO

The ship, sir, the slip; can you not conceive?

ROMEO

Pardon, good Mercutio, my business was great; and in
such a case as mine a man may strain courtesy.

MERCUTIO

That's as much as to say, such a case as yours
constrains a man to bow in the hams.

ROMEO

Meaning, to court'sy.

MERCUTIO

Thou hast most kindly hit it.

ROMEO

A most courteous exposition.

MERCUTIO

Nay, I am the very pink of courtesy.

ROMEO

Pink for flower.

MERCUTIO

Right.

ROMEO

Why, then is my pump well flowered.

MERCUTIO

Well said: follow me this jest now till thou hast
worn out thy pump, that when the single sole of it
is worn, the jest may remain after the wearing sole singular.

ROMEO

O single-soled jest, solely singular for the
singleness.

MERCUTIO

Come between us, good Benvolio; my wits faint.

ROMEO

Switch and spurs, switch and spurs; or I'll cry a match.

MERCUTIO

Nay, if thy wits run the wild-goose chase, I have
done, for thou hast more of the wild-goose in one of
thy wits than, I am sure, I have in my whole five:
was I with you there for the goose?

ROMEO

Thou wast never with me for any thing when thou wast
not there for the goose.

MERCUTIO

I will bite thee by the ear for that jest.

ROMEO

Nay, good goose, bite not.

MERCUTIO

Thy wit is a very bitter sweeting; it is a most
sharp sauce.

ROMEO

And is it not well served in to a sweet goose?

MERCUTIO

O here's a wit of cheveril, that stretches from an
inch narrow to an ell broad!

ROMEO

I stretch it out for that word 'broad;' which added
to the goose, proves thee far and wide a broad goose.

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 drivelling love is like a great natural,
that runs lolling up and down to hide his bauble in a hole.

BENVOLIO

Stop there, stop there.

MERCUTIO

Thou desirest me to stop in my tale against the hair.

BENVOLIO

Thou wouldst else have made thy tale large.

MERCUTIO

O, thou art deceived; I would have made it short:
for I was come to the whole depth of my tale; and
meant, indeed, to occupy the argument no longer.

ROMEO

Here's goodly gear!

Enter Nurse and PETER

MERCUTIO

A sail, a sail!

BENVOLIO

Two, two; a shirt and a smock.

Nurse

Peter!

PETER

Anon!

Nurse

My fan, Peter.

MERCUTIO

Good Peter, to hide her face; for her fan's the
fairer face.

Nurse

God ye good morrow, gentlemen.

MERCUTIO

God ye good den, fair gentlewoman.

Nurse

Is it good den?

MERCUTIO

'Tis no less, I tell you, for the bawdy hand of the
dial is now upon the prick of noon.

Nurse

Out upon you! what a man are you!

ROMEO

One, gentlewoman, that God hath made for himself to
mar.

Nurse

By my troth, it is well said; 'for himself to mar,'
quoth a'? Gentlemen, can any of you tell me where I
may find the young Romeo?

ROMEO

I can tell you; but young Romeo will be older when
you have found him than he was when you sought him:
I am the youngest of that name, for fault of a worse.

Nurse

You say well.

MERCUTIO

Yea, is the worst well? very well took, i' faith;
wisely, wisely.

Nurse

if you be he, sir, I desire some confidence with
you.

BENVOLIO

She will indite him to some supper.

MERCUTIO

A bawd, a bawd, a bawd! so ho!

ROMEO

What hast thou found?

MERCUTIO

No hare, sir; unless a hare, sir, in a lenten pie,
that is something stale and hoar ere it be spent.

Sings

An old hare hoar,
And an old hare hoar,
Is very good meat in lent
But a hare that is hoar
Is too much for a score,
When it hoars ere it be spent.
Romeo, will you come to your father's? we'll
to dinner, thither.

ROMEO

I will follow you.

MERCUTIO

Farewell, ancient lady; farewell,

Singing

'lady, lady, lady.'

Exeunt MERCUTIO and BENVOLIO

Nurse

Marry, farewell! I pray you, sir, what saucy
merchant was this, that was so full of his ropery?

ROMEO

A gentleman, nurse, that loves to hear himself talk,
and will speak more in a minute than he will stand
to in a month.

Nurse

An a' speak any thing against me, I'll take him
down, an a' were lustier than he is, and twenty such
Jacks; and if I cannot, I'll find those that shall.
Scurvy knave! I am none of his flirt-gills; I am
none of his skains-mates. And thou must stand by
too, and suffer every knave to use me at his pleasure?

PETER

I saw no man use you a pleasure; if I had, my weapon
should quickly have been out, I warrant you: I dare
draw as soon as another man, if I see occasion in a
good quarrel, and the law on my side.

Nurse

Now, afore God, I am so vexed, that every part about
me quivers. Scurvy knave! Pray you, sir, a word:
and as I told you, my young lady bade me inquire you
out; what she bade me say, I will keep to myself:
but first let me tell ye, if ye should lead her into
a fool's paradise, as they say, it were a very gross
kind of behavior, as they say: for the gentlewoman
is young; and, therefore, if you should deal double
with her, truly it were an ill thing to be offered
to any gentlewoman, and very weak dealing.

ROMEO

Nurse, commend me to thy lady and mistress. I
protest unto thee--

Nurse

Good heart, and, i' faith, I will tell her as much:
Lord, Lord, she will be a joyful woman.

ROMEO

What wilt thou tell her, nurse? thou dost not mark me.

Nurse

I will tell her, sir, that you do protest; which, as
I take it, is a gentlemanlike offer.

ROMEO

Bid her devise
Some means to come to shrift this afternoon;
And there she shall at Friar Laurence' cell
Be shrived and married. Here is for thy pains.

Nurse

No truly sir; not a penny.

ROMEO

Go to; I say you shall.

Nurse

This afternoon, sir? well, she shall be there.

ROMEO

And stay, good nurse, behind the abbey wall:
Within this hour my man shall be with thee
And bring thee cords made like a tackled stair;
Which to the high top-gallant of my joy
Must be my convoy in the secret night.
Farewell; be trusty, and I'll quit thy pains:
Farewell; commend me to thy mistress.

Nurse

Now God in heaven bless thee! Hark you, sir.

ROMEO

What say'st thou, my dear nurse?

Nurse

Is your man secret? Did you ne'er hear say,
Two may keep counsel, putting one away?

ROMEO

I warrant thee, my man's as true as steel.

NURSE

Well, sir; my mistress is the sweetest lady--Lord,
Lord! when 'twas a little prating thing:--O, there
is a nobleman in town, one Paris, that would fain
lay knife aboard; but she, good soul, had as lief
see a toad, a very toad, as see him. I anger her
sometimes and tell her that Paris is the properer
man; but, I'll warrant you, when I say so, she looks
as pale as any clout in the versal world. Doth not
rosemary and Romeo begin both with a letter?

ROMEO

Ay, nurse; what of that? both with an R.

Nurse

Ah. mocker! that's the dog's name; R is for
the--No; I know it begins with some other
letter:--and she hath the prettiest sententious of
it, of you and rosemary, that it would do you good
to hear it.

ROMEO

Commend me to thy lady.

Nurse

Ay, a thousand times.

Exit Romeo

Peter!

PETER

Anon!

Nurse

Peter, take my fan, and go before and apace.

Exeunt

SCENE V. Capulet's orchard.

Enter JULIET

JULIET

The clock struck nine when I did send the nurse;
In half an hour she promised to return.
Perchance she cannot meet him: that's not so.
O, she is lame! love's heralds should be thoughts,
Which ten times faster glide than the sun's beams,
Driving back shadows over louring hills:
Therefore do nimble-pinion'd doves draw love,
And therefore hath the wind-swift Cupid wings.
Now is the sun upon the highmost hill
Of this day's journey, and from nine till twelve
Is three long hours, yet she is not come.
Had she affections and warm youthful blood,
She would be as swift in motion as a ball;
My words would bandy her to my sweet love,
And his to me:
But old folks, many feign as they were dead;
Unwieldy, slow, heavy and pale as lead.
O God, she comes!

Enter Nurse and PETER

O honey nurse, what news?
Hast thou met with him? Send thy man away.

Nurse

Peter, stay at the gate.

Exit PETER

JULIET

Now, good sweet nurse,--O Lord, why look'st thou sad?
Though news be sad, yet tell them merrily;
If good, thou shamest the music of sweet news
By playing it to me with so sour a face.

Nurse

I am a-weary, give me leave awhile:
Fie, how my bones ache! what a jaunt have I had!

JULIET

I would thou hadst my bones, and I thy news:
Nay, come, I pray thee, speak; good, good nurse, speak.

Nurse

Jesu, what haste? can you not stay awhile?
Do you not see that I am out of breath?

JULIET

How art thou out of breath, when thou hast breath
To say to me that thou art out of breath?
The excuse that thou dost make in this delay
Is longer than the tale thou dost excuse.
Is thy news good, or bad? answer to that;
Say either, and I'll stay the circumstance:
Let me be satisfied, is't good or bad?

Nurse

Well, you have made a simple choice; you know not
how to choose a man: Romeo! no, not he; though his
face be better than any man's, yet his leg excels
all men's; and for a hand, and a foot, and a body,
though they be not to be talked on, yet they are
past compare: he is not the flower of courtesy,
but, I'll warrant him, as gentle as a lamb. Go thy
ways, wench; serve God. What, have you dined at home?

JULIET

No, no: but all this did I know before.
What says he of our marriage? what of that?

Nurse

Lord, how my head aches! what a head have I!
It beats as it would fall in twenty pieces.
My back o' t' other side,--O, my back, my back!
Beshrew your heart for sending me about,
To catch my death with jaunting up and down!

JULIET

I' faith, I am sorry that thou art not well.
Sweet, sweet, sweet nurse, tell me, what says my love?

Nurse

Your love says, like an honest gentleman, and a
courteous, and a kind, and a handsome, and, I
warrant, a virtuous,--Where is your mother?

JULIET

Where is my mother! why, she is within;
Where should she be? How oddly thou repliest!
'Your love says, like an honest gentleman,
Where is your mother?'

Nurse

O God's lady dear!
Are you so hot? marry, come up, I trow;
Is this the poultice for my aching bones?
Henceforward do your messages yourself.

JULIET

Here's such a coil! come, what says Romeo?

Nurse

Have you got leave to go to shrift to-day?

JULIET

I have.

Nurse

Then hie you hence to Friar Laurence' cell;
There stays a husband to make you a wife:
Now comes the wanton blood up in your cheeks,
They'll be in scarlet straight at any news.
Hie you to church; I must another way,
To fetch a ladder, by the which your love
Must climb a bird's nest soon when it is dark:
I am the drudge and toil in your delight,
But you shall bear the burden soon at night.
Go; I'll to dinner: hie you to the cell.

JULIET

Hie to high fortune! Honest nurse, farewell.

Exeunt

SCENE VI. Friar Laurence's cell.

Enter FRIAR LAURENCE and ROMEO

FRIAR LAURENCE

So smile the heavens upon this holy act,
That after hours with sorrow chide us not!

ROMEO

Amen, amen! but come what sorrow can,
It cannot countervail the exchange of joy
That one short minute gives me in her sight:
Do thou but close our hands with holy words,
Then love-devouring death do what he dare;
It is enough I may but call her mine.

FRIAR LAURENCE

These violent delights have violent ends
And in their triumph die, like fire and powder,
Which as they kiss consume: the sweetest honey
Is loathsome in his own deliciousness
And in the taste confounds the appetite:
Therefore love moderately; long love doth so;
Too swift arrives as tardy as too slow.

Enter JULIET

Here comes the lady: O, so light a foot
Will ne'er wear out the everlasting flint:
A lover may bestride the gossamer
That idles in the wanton summer air,
And yet not fall; so light is vanity.

JULIET

Good even to my ghostly confessor.

FRIAR LAURENCE

Romeo shall thank thee, daughter, for us both.

JULIET

As much to him, else is his thanks too much.

ROMEO

Ah, Juliet, if the measure of thy joy
Be heap'd like mine and that thy skill be more
To blazon it, then sweeten with thy breath
This neighbour 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.

FRIAR LAURENCE

Come, come with me, and we will make short work;
For, by your leaves, you shall not stay alone
Till holy church incorporate two in one.

Exeunt

Because, dear student, by the end of the play, only three people survived. All others are dead, by “violent ends.”

Okay, so there is this 16 year old school kid named Romeo Montague, and he accidentally meets up with this 13-year old hottie named Juliet Capulet. At a huge party. They meet, they both think each other are attractive, they talk a tiny bit, and they totally fall for each other. But then, they lean that each of them come from families where the parents do not at all get along.

It is then, that Romeo travels to Denmark, and consults with his buddy, a guy by the name of Hamlet, for some wise advice. His friend Hamlet, advises Romeo to pretend to be crazy, and that will resolve all of his problems. Romeo considers this, and then on his way home, he visits his second best friend – a guy by the name of Macbeth. Macbeth advises Romeo to simply kill the father, to get the girl (Juliet). Romeo considers this, but then Macbeth’s wife meets with Romeo and she advises him to completely slaughter Juliet’s Dad, and even wipe the blood all over the place, even on other people -- so that everyone will think that others committed this murder. On the way home, Romeo consults his best bud – a guy by the name of Brutus. Brutus tells Romeo to kill the father, and stab him exactly 33 times, in fact. “Three and Thirty Times!” Finally, Romeo visits his only other remaining trusted friend – a guy by the name of Iago. Iago tells him those ideas are all good, but Romeo should also kill Juliet (!) because Juliet is a young woman, and is probably therefore sleeping with other guys behind Romeo’s back.

Romeo then returns home, where he encounters his own father, a guy named Lear Montague -- who has just thrown out one of his own daughters when she refused to tell him how much she “loved him.” Romeo’s other two sisters promised Daddy they loved him, but that “one, defiant daughter must go!”

Romeo goes to see Juliet again, but on the way, he encounters three witches who tell him to suck it all up, and do nothing. But then, Romeo encounters a Ghost, who tells him that poison, in an ear – is a great way to get what Romeo really, really wants.

In the thrilling conclusion, everybody dies. Except an apothecary / pharmacist, and a couple of goofballs named Sir Toby Belch and Andrew Aguecheek. In the end, all three of them live happily ever after in a gay three-some relationship.

—

Feel free to copy and paste all of the above, and turn it in tomorrow. Be sure to let me know what grade you get…

This is a very good question. The context is what makes the advice so telling.

Romeo and Juliet have already decided to marry, and Romeo has asked Friar Laurence, the local priest, to perform the ceremony. Surprisingly, given the feud between their families (the Montagues and the Capulets, respectively), Friar Laurence agrees to do so. He’s a good-hearted man who likes Romeo, and he privately hopes that the marriage will put an end to the feud.

Now Romeo meets Friar Laurence again, and they wait for Juliet’s arrival, so that the secret wedding ceremony can be performed. Romeo constantly speaks in hyperboles when his subject is Juliet, and this scene (Act II, scene 6) is no exception. Friar Laurence hopes for the best:

“So smile the heavens upon this holy act,

That after hours with sorrow chide us not!”

But Romeo cares nothing at the moment about sorrow. The anticipated joy is everything:

“Amen, amen! but come what sorrow can,

It cannot countervail the exchange of joy

That one short minute gives me in her sight:

Do thou [i.e., Friar Laurence] but close our hands with holy words,

Then love-devouring death do what he dare;

It is enough I may but call her mine.”

At this point Friar Laurence advises a little moderation. He thinks of Romeo’s love as too passionate. Shakespeare, being the master of the perfect word, doesn’t use the word “passionate,” though. The good Friar says “violent” instead:

“These violent delights have violent ends

And in their triumph die, like fire and powder,

Which as they kiss consume: the sweetest honey

Is loathsome in his own deliciousness

And in the taste confounds the appetite.”

As Yeats says in one of his poems,

“Everything that man esteems

Endures a moment or a day.

Love’s pleasure drives his love away;

The painter’s brush consumes his dreams.”

That is the same theme: happiness brings its own surfeit, but the Friar is less pessimistic. He doesn’t say “Your love will last a moment and then fade away.” He just advises moderation. Even so, as with Romeo’s words, what he says points forward to the last scenes of the play. In Act V, Romeo and Juliet do experience “love-devouring death,” ironically at their own hands, because Romeo is too “violent” in his reaction to Juliet’s simulated death. She is really still alive and about to wake up. When she does wake up, Romeo’s suicide makes her violent reaction inevitable. Thus, Friar Laurence’s words have more relevance than he intends:

“These violent delights have violent ends.”

One final point. Shakespeare makes no mystery about the fate of the two lovers. At the beginning of the play, an orator tells the audience that the “star-crossed lovers” will die tragically. This kind of telling-beforehand is something Shakespeare discarded in his later tragedies, but in one respect they’re all the same: there is no mystery about the death of the hero (or heroes), only about how the tragedy unravels.

“deny thy father and refuse thy name”

I think this is the most relevant conflict quote of the play. While it’s simple and an obvious choice, it conveys Juliet’s internal conflict with falling in love with a Montague. This confliction within, that Juliet is feeling is caused by being raised in an environment where the strained relationship between the Capulets and the Montagues has been what defines each families existence.

The entire play is propelled by this conflict.

Daniela

“Romeo and Juliet” is full of quotes that touch on themes of conflict, both internal and external. Here are some notable ones:

1> “From forth the fatal loins of these two foes, A pair of star-cross’d lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents’ strife. “ (Prologue) - This sets the stage for the conflict between the Montagues and Capulets, which ultimately leads to the tragedy.

2> “O, I am fortune’s fool! “ (Act 3, Scene 1) - Romeo exclaims this after he kills Tybalt in a fit of rage. He realizes that his impulsive actions have consequences beyond his control, highlighting the conflict between fate and free will.

3> “O, swear not by the moon, th’ inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable. “ (Act 2, Scene 2) - Juliet expresses her concern that Romeo’s love may be as changeable as the moon, revealing her internal conflict about trusting him completely.

4> “These violent delights have violent ends And in their triumph die, like fire and powder, Which, as they kiss, consume. “ (Act 2, Scene 6) - Friar Laurence warns Romeo about the consequences of pursuing his relationship with Juliet in secret, foreshadowing the tragic outcome of their love.

5> “For never was a story of more woe Than this of Juliet and her Romeo. “ (Final lines) - The Prince concludes the play with these lines, emphasizing the tragic conflict that has unfolded due to the feud between the two families.

These quotes highlight the various conflicts present in “Romeo and Juliet,” including familial conflict, internal struggle, and the clash between love and society.

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 blessed my rude hand.

Did my heart love till now? forswear it, sight!
For I ne’er saw true beauty till this night.

“O Romeo, Romeo! wherefore art thou Romeo”

This line is uttered by Juliet in Act 2 scene 2. Generally misinterpreted as ‘ Romeo , Romeo, where are you Romeo’ but what it actually means is ‘ Romeo, Romeo, why are you Romeo’

Juliet leaning over her balcony is wondering about romeo she had met during the ball and discovered that he is a Montague, a rival family. And she is asking why romeo is romeo,Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!

And after this follows another famous line,

What's in a name? that which we call a rose
By any other name would smell as sweet;

Here’ s a fun fact

Romeo and Juliet has both poetry and prose. The lines of poetry are usually made of poetic structure called Iambic Pentameter(a line of verse with five metrical feet, each consisting of one short (or unstressed) syllable followed by one long (or stressed) syllable)

O Romeo, Romeo! wherefore art thou Romeo

This line would have been a Iambic Pentameter but Romeo’s name keeps messing it up. And it is his name, of course, that is the problem. If he were not named Romeo Montague, there would be no issue at all, in the line as well as in the play!

“Violent delights have violent ends.” - act 2, scene 6. Is said by friar Lawrence to Romeo before he secretly marries Juliet. Romeo is crazed with love and doesn’t care about anything else, he doesn’t see all the problems or think in long term solutions at all. The friar advises him to: “love moderately. Long love does so.” But Romeo just wants to be married: “Then love-devouring death do what he dare; it is enough that I may call her mine.” In other words the friar foresees that this passionate ill-conceived love may burn strongly but not long. If your feelings are like a switch from 0 to 100 then nothing is constant, though you might think it is, and love and not-love lies too close together. His concern might also have something to do with the fact that the day before the marriage Romeo was still in love with Rosaline, a lady we don’t even see in the play, and then suddenly he’s in love with Juliet and wants to marry her straight away! It might seem like madness to the rest of us. And if he cast off Roseline so quickly why not Juliet? The friar doesn’t doubt they are in love; but for how long?

The source of the quotes is Shakespeare (there are other spellings) himself which why he is regarded as the greatest playwright in the English language.

William Shakespeare used more than 20,000 words in his plays and poems, and his works provide the first recorded use of over 1,700 words in the English language. It is believed that he may have invented or introduced many of these words himself, often by combining words, changing nouns into verbs, adding prefixes or suffixes, and so on. Some words stuck around and some didn't.

Although lexicographers are continually discovering new origins and earliest usages of words, below are listed words and definitions we still use today that are widely attributed to Shakespeare.

Here are just a few words invented or first used by Shakespeare:

Alligator: (n) a large, carnivorous reptile closely related to the crocodile
Romeo and Juliet, Act 5 Scene 1

Bedroom: (n) a room for sleeping; furnished with a bed
A Midsummer Night's Dream, Act 2 Scene 2

Critic: (n) one who judges merit or expresses a reasoned opinion
Love's Labour's Lost, Act 3 Scene 1

Downstairs: (adv) on a lower floor; down the steps
Henry IV Part 1, Act 2 Scene 4

Eyeball: (n) the round part of the eye; organ for vision
Henry VI Part 1, Act 4 Scene 7

Fashionable: (adj) stylish; characteristic of a particular period
Troilus and Cressida, Act 3 Scene 3

Gossip: (v) to talk casually, usually about others
The Comedy of Errors, Act 5 Scene 1

Hurry: (v) to act or move quickly
The Comedy of Errors, Act 5 Scene 1

Inaudible: (adj) not heard; unable to be heard
All's Well That Ends Well, Act 5 Scene 3

Jaded: (adj) worn out; bored or past feeling
Henry VI Part 2, Act 4 Scene 1

Kissing: (ppl adj) touching with the lips; exchanging kisses
Love's Labour's Lost, Act 5 Scene 2

Lonely: (adj) feeling sad due to lack of companionship
Coriolanus, Act 4 Scene 1

Manager: (n) one who controls or administers; person in charge
Love's Labour's Lost, Act 1 Scene 2

Nervy: (adj) sinewy or strong; bold; easily agitated
Coriolanus, Act 2 Scene 1

Obscene: (adj) repulsive or disgusting; offensive to one's morality
Love's Labour's Lost, Act 1 Scene 1

Puppy dog: (n) a young, domestic dog
King John, Act 2 Scene 1

Questioning: (n) the act of inquiring or interrogating
As You Like It, Act 5 Scene 4

Rant: (v) to speak at length in inflated or extravagant language
Hamlet, Act 5 Scene 1

Skim milk: (n) milk with its cream removed
Henry IV Part 1, Act 2 Scene 3

Traditional: (adj) conventional; long-established, bound by tradition
Richard III, Act 3 Scene 1

Undress: (v) to remove clothes or other covering
The Taming of the Shrew, Induction Scene 2

Varied: (adj) incorporating different types or kinds; diverse
Titus Andronicus, Act 3 Scene 1

Worthless: (adj) having no value or merit; contemptible
The Two Gentlemen of Verona, Act 4 Scene 2

Xantippe: (n) shrewish wife of Socrates; figuratively, a bad-tempered woman
The Taming of the Shrew, Act 1 Scene 2

Yelping: (adj) uttering sharp, high-pitched cries
Henry VI Part 1, Act 4 Scene 2

Zany: (n) clown's assistant; performer who mimics another's antics
Love's Labour's Lost, Act 5 Scene 2

….and just a very few phrases:

• A laughing stock (The Merry Wives of Windsor)
• A sorry sight (Macbeth)
• As dead as a doornail (Henry VI)
• Eaten out of house and home (Henry V, Part 2)
• Fair play (The Tempest)
• I will wear my heart upon my sleeve (Othello)
• In a pickle (The Tempest)
• In stitches (Twelfth Night)
• In the twinkling of an eye (The Merchant Of Venice)
• Mum's the word (Henry VI, Part 2)
• Neither here nor there (Othello)
• Send him packing (Henry IV)
• Set your teeth on edge (Henry IV)
• There's method in my madness (Hamlet)
• Too much of a good thing (As You Like It)
• Vanish into thin air (Othello)
• All that glisters is not gold (Merchant of Venice) NB this one is the original spelling despite glitters being used today

Romeo and Juliet love quotes with page numbers

Romeo and Juliet love quotes with page numbers, Romeo and Juliet” is a tragic love story that has captivated audiences for centuries. Written by William Shakespeare early in his career around 1597, the play is set in Verona, Italy and revolves around the intense and fated love between two young men, Romeo Montague and Juliet Capulet.

The Montagues and Capulets are feuding in the family, creating an atmosphere of hostility surrounding the love affair. Despite the enmity between their families, Romeo and Juliet meet at a masquerade ball and instantly fall deeply in love. Their secret romance unfolds against a backdrop of lingering conflict, adding an element of forbidden passion to their relationship.

Table of Contents

romeo and juliet important quotes

The play explores themes of love, fate and the consequences of hatred. The young lovers, driven by their passion and their urge to love, make choices that lead to a tragic chain of events. Miscommunication, duels, and the intervention of well-intentioned but misguided characters like Friar Lawrence contribute to the inevitable and disastrous conclusion.

The tragic story of “Romeo and Juliet” has become a cultural touchstone, inspiring numerous adaptations, plays, films and other creative works. The play’s enduring popularity lies in its exploration of the timeless and universal aspects of love—its intensity, its obstacles, and its power to elevate and destroy. The characters of Romeo and Juliet have become archetypal symbols of youthful passion and the tragic consequences of unbridled love. Over the centuries, audiences have been drawn to this poignant narrative, finding it reflective of the underlying complexities of the human experience of exploring love and loss.

What is a famous love quote from Romeo and Juliet?

Learn about the timeless expressions of love in Shakespeare’s “Romeo and Juliet” with these insightful quotes.

Discover the poetic language of love in “Romeo and Juliet” with these quotes. Each line expresses a brushstroke on the canvas of passion, intensity, longing and tragedy in one of Shakespeare’s most iconic plays.
Step into the world of Shakespearean romance with these captivating quotes from “Romeo and Juliet.” Whether it’s a comparison of love to the sun or a warning about its fickle nature, these lines epitomize love’s myriad facets.

Learn about the thrilling events of “Romeo and Juliet” with these love quotes. Each quote gives a glimpse of the deep emotions that shaped this timeless tragedy.

Romeo and Juliet love quotes with page numbers

“But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun.” (Act 2, Scene 2)

Explanation: In this famous balcony scene, Romeo is captivated by Juliet’s beauty, comparing her to the rising sun. The use of “soft” suggests a quiet and contemplative tone.

“A rose by any other name would smell as sweet.” (Act 2, Scene 2)

Explanation: Juliet expresses the idea that names are not essential and don’t define the essence of a person. She argues that even if Romeo had a different name, their love would be just as genuine.

“Good night, good night! Parting is such sweet sorrow, that I shall say good night till it be morrow.” (Act 2, Scene 2)

Explanation: Romeo bids Juliet farewell with a mixture of sadness and sweetness, highlighting the contradictory emotions of parting. The phrase “sweet sorrow” captures the bittersweet nature of their love.

“O, for a falconer’s voice to lure this tassel-gentle back again!” (Act 2, Scene 2)

Explanation: Romeo wishes for a falconer’s skill to call Juliet back to him. The metaphor of a “tassel-gentle” refers to a female hawk, emphasizing Juliet’s delicacy and beauty.

“See how she leans her cheek upon her hand! O, that I were a glove upon that hand, that I might touch that cheek!” (Act 2, Scene 2)

Explanation: Romeo is enamored by Juliet’s gestures and wishes he could be close to her. The metaphor of being a glove on her hand signifies a desire for intimate connection and physical touch.

“Love is a smoke made with the fume of sighs.” (Act 1, Scene 1)

Explanation: Mercutio, Romeo’s friend, humorously describes love as a smoky and elusive emotion, created by the sighs of those in love. The imagery reflects the passionate and volatile nature of love.

“Did my heart love till now? forswear it, sight! For I ne’er saw true beauty till this night.” (Act 1, Scene 5)

Explanation: Upon seeing Juliet for the first time, Romeo questions whether he has ever truly experienced love before, emphasizing the profound impact of Juliet’s beauty on him.

Romeo and Juliet love quotes with page numbers

“My bounty is as boundless as the sea, my love as deep; the more I give to thee, the more I have, for both are infinite.” (Act 2, Scene 2)

Explanation: In this declaration, Juliet expresses the limitless nature of her love for Romeo, using the boundless sea as a metaphor for the depth and infinity of her feelings.

“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.” (Act 1, Scene 5)

Explanation: Romeo speaks of Juliet as a holy shrine, and he seeks to kiss her as a form of worship. The metaphor of their lips as “blushing pilgrims” conveys the reverence and purity of their love.

“O, she doth teach the torches to burn bright!” (Act 1, Scene 5)

Explanation: Romeo marvels at Juliet’s radiant beauty, suggesting that she outshines even the torches in brightness. This line highlights the intense and captivating nature of their attraction.

“Love goes toward love as schoolboys from their books, but love from love, toward school with heavy looks.” (Act 2, Scene 2)

Explanation: This quote reflects the playful nature of love. The analogy of schoolboys leaving their books and heading toward love suggests that love is pursued eagerly, while the latter part suggests that leaving love is a more difficult task.

“O Juliet, I already know thy grief; It strains me past the compass of my wits.” (Act 3, Scene 3)

Explanation: Friar Laurence speaks these words, expressing his concern for Juliet’s sorrow. The phrase “past the compass of my wits” indicates that her grief is beyond his ability to comprehend, emphasizing the weight of the situation.

“O, wilt thou therefore rise from me? Thy eyes are almost set in thy head.” (Act 3, Scene 5)

Explanation: Juliet pleads with Romeo to stay longer, expressing concern that his departure will bring about her emotional demise. The reference to her eyes “almost set” conveys the imminent sadness and despair.

“These violent delights have violent ends, and in their triumph die, like fire and powder, which, as they kiss, consume.” (Act 2, Scene 6)

Explanation: Friar Laurence warns Romeo about the dangers of impulsive and excessive love. The metaphor of “fire and powder” suggests that intense passions can lead to destructive consequences.

“My love is thine to teach. Teach it but how, and thou shalt see how apt it is to learn.” (Act 2, Scene 2)

Explanation: Juliet expresses her willingness to learn about love from Romeo. The quote reflects the mutual desire for understanding and connection in their relationship.

Romeo and Juliet love quotes with page numbers

“Love’s heralds should be thoughts, which ten times faster glide than the sun’s beams.” (Act 2, Scene 6)

Explanation: This quote emphasizes the speed and intensity of love. Love’s messengers, or “heralds,” are said to move faster than the sun’s beams, underlining the rapid and overwhelming nature of romantic feelings.

“Jocund day stands tiptoe on the misty mountain tops.” (Act 2, Scene 3)

Explanation: Romeo’s friend Mercutio uses vivid imagery to describe the anticipation of dawn. The phrase “jocund day stands tiptoe” conveys a sense of excitement and joy as the new day begins.

“It is the east, and Juliet is the sun.” (Act 2, Scene 2)

Explanation: This line from the balcony scene reinforces the idea of Juliet’s radiant beauty. By comparing her to the sun, Romeo elevates Juliet to a celestial and awe-inspiring status in his eyes.

“But, love, I am too wretched to be there.” (Act 3, Scene 5)

Explanation: Juliet laments that her current circumstances make it difficult for her to be with Romeo. The word “wretched” conveys her sense of misery and despair.

“Then love-devouring death do what he dare—it is enough I may but call her mine.” (Act 5, Scene 3)

Explanation: In the final act, Romeo declares that he is satisfied with the thought of claiming Juliet as his own, even in the face of the impending threat of death. This quote encapsulates the intensity and determination of their love.

This tapestry of “Romeo and Juliet”, Shakespeare presents a poetic narrative of love, passion and tragedy. These quotes, from the iconic to the profound, encapsulate the essence of the play’s timeless themes. From charming declarations of love to cautionary words of wisdom, each line resonates with the complexities of human emotion. “Romeo and Juliet” stands as a testament to the enduring power of Shakespeare’s words, inviting readers and listeners to immerse themselves in the beauty and depth of love depicted through the Bard’s unparalleled storytelling lens.

Well, you’re quoting HAMLET there, kiddo, not Romeo and Juliet, and it is Polonius who says that line to his kids, Laertes and Ophelia. The fun part of that line is that both of the kids think the old man is a nag, and want to be on their own as fast as possible. So perhaps Shakespeare intended that scene to show a lot of BAD advice.

Ironically, though, ideas such as “To thine own self be true,” might just as easily be considered GOOD advice, even if the old man is annoying at times because he goes on too long.

Anyway, Shakespeare was a genius, and one of the reasons we say that is because he came up with so many purely ORIGINAL phrases and sayings, especially in this play (Hamlet). Yet he was not above just stealing from other people when it suited him… and sometimes it takes a lot of research to figure out which of his sayings originated fully with him; although, scholars have been working on that issue for centuries, so usually it’s clear.

One of his more interesting phrases is from his sonnets, when he uses the phrase

Remembrance of things past

It would be natural to think this was original, but actually the phrase appeared in the “Bishop’s Bible,” an early English translation of the Bible that proceeded the King James Version.

Sometimes, in the history plays and the Roman plays, Shakespeare quotes from an earlier writer about some historical event. For example, he got the phrase

Et tu, Brute?

from Plutarch, and probably “Beware the Ides of March” as well.

Not what the inquiry seemed to be expecting, none-the-less a useful answer:

“When I was a kid, I used to lick markers on my t-shirt 'I'm going to college' and that imprint stuck in my head and made a difference to me in my life, turning it into a reality. I want to implant the same positive message to young boys as they dress themselves each day with a feeling of success. They can look in the mirror at themselves with a positive goal in mind for their bright future knowing that going to college can make a big difference in their lives. College Boyys clothing style is classy, cool, and urban with a message: It's actually cool to be smart.”

—Romeo Miller, 2010

And:

"Things generally happen for the best. ... I never worry about what happens … because I can always do something else."

—Juliet Prowse

In William Shakespeare's play "Romeo and Juliet," Romeo is a young man who is passionately in love with Juliet, the daughter of his family's enemy, the Capulets. However, due to the longstanding feud between the Montagues and the Capulets, Romeo and Juliet are forbidden from being together.

In Act II, Scene 2, Romeo learns that Juliet is attending a ball at the Capulet house and decides to attend, hoping to catch a glimpse of Juliet. At the ball, Romeo and Juliet meet and fall in love at first sight. However, they do not realize that they are from feuding families until later.

After the ball, Romeo returns to his friend, Benvolio, and tells him about his encounter with Juliet. Romeo is desperate to find out more about Juliet and decides to ask the Nurse, who is a servant in the Capulet household and is close to Juliet, to find out if Juliet is interested in him and if she will speak with him.

This is when Romeo asks the Nurse about Juliet, saying: "O tell me, that I may prove her fair, / Tell me how fair she is, how deep her eyes, / How fair her face, how full of all delight!" The Nurse agrees to speak with Juliet and report back to Romeo, setting in motion the events of the play.

Throughout the play, Romeo and Juliet continue to pursue their love for each other despite the obstacles in their way, and their love eventually leads to the tragic events of the play.

This one ought be, but is not:

Speaker: ROMEO

Have not saints lips, and holy palmers too?

Speaker: JULIET

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

Speaker: ROMEO

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

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

Speaker: JULIET

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

Speaker: ROMEO

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

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

Speaker: JULIET

Then have my lips the sin that they have took.

Speaker: ROMEO

Sin from thy lips? O trespass sweetly urged!

Give me my sin again.

Speaker: JULIET

You kiss by the book.

By: Monsieur Liberal

The famous line? Singular? Romeo & Juliet is one of the most famous and most produced plays in the Western Hemisphere. It has been translated into dozens of languages (including Klingon), and been adapted into a variety of formats, from Broadway musical (West Side Story) to zombie flick (Warm Bodies). And you want “the famous line"? Well, you're probably looking for the most famous line from the play, which would most likely be “What's in a name? That which we call a rose, by any other name, would smell as sweet” (Act II Scene II). In the context of the play, Juliet here is telling Romeo that she loves him regardless of his last name, that the feud between their families matters not to her. In the greater co text of the world of Shakespeare in the late 16th/early 17th century London, this line would have gotten a huge laugh from the groundlings. While Shakespeare's primary home was The Globe, when he started out, he first performed af The Rose Theatre. The Rose abutted stables, so when the breeze of the Thames hit justbright, the Rose stank like a stables in the worst summer heat. The audiences would know this reputation and would have gotten a good chuckle out of it.

Gee, what have you found so far in reading the play? There are plenty of lines where people speak about the role of the stars or Fate or Fortune, especially Romeo.

Why not find them for yourself, and then decide what Shakespeare is saying.

Here is another question, related to the one you asked, that might help you with the theme statement:

Is Shakespeare asserting that Fate controls people’s lives or does he counter that idea with character actions that demonstrate free will? Can characters choose for themselves what they do, and so shape their outcomes, or are they simply the tools of Fate?

That means you may have to contrast what *characters* say with what *Shakespeare* “says” via his characters’ words and actions.

There are so many reductive answers here and elsewhere on Quora, even by folks I really admire, that I want to make a sort of meta-point about drama.

How could Juliet love Romeo so quickly? Yes, she’s young, but lives were shorter in Shakespeare’s day, and different sensibilities cultivated younger (accordingly). She’s also one of Shakespeare’s brightest female characters — and he wrote many. But still, it’s precipitous, right?

But consider parallel questions: how does Iago destroy Othello’s trust in Desdemona so fast? How could Lear banish his most beloved daughter in a moment of anger and embarrassment after a lifetime’s experience of her goodness? Why does Duke Vincentio just up and leave in Measure for Measure? How exactly is love so shallow and manipulable in A Midsummer Night’s Dream? Let’s not even get into how it is that no one ever sees through a disguise. Viola… you mean you’re…

What we seem incapable of imagining as moderns is that we are dealing with challenges imposed by theater itself. The play does not have the space of a novel in which to really develop a “case” for love moment by moment just so future cynics will credit it. Instead there is a kind of common-sense contract between playwright and spectator. Shakespeare’s plays telescope events that must be givens if his story is to work. He needs his audience to understand that time and emotional phenomena that unfold in it are both subject to dramaturgical necessity. What he shows us — in masterful scenes the reductionists also ignore too easily — are representative anecdotes, and we ought not demand a novel’s worth of “proof” to accept the premises that permit the plays to make meaning by confronting the given dramatic situation (love, jealousy, whatever) with the particular challenges, and the cognitive and vital consequences of facing them, that are the stuff of Shakespearean drama.

Not to see this, and to reduce Romeo and Juliet to a preteen farce, is to read anachronistically and violently against the grain of the text. The Duke isn’t talking about those dumb kids, ruled by their hormones, in that final speech, is he? No. He’s not.

Coleridge understood suspension of disbelief (it’s his phrase), and Keats negative capability (that’s his); proud modernity lacks the imagination of either. Shakespeare’s great forebear Marlowe asked: “Who ever loved that loved not at first sight?” Our postmodern/postpostmodern irony won’t let us believe this happens, and yet surely it is human, and surely it does.

Those who are so busy reading 21st century psychological bromides into this great play do themselves a disservice — they don’t get to confront the real challenges the play means to pose — and, worse, they show both a lack of historical self-consciousness and an incapacity to understand how drama works.

Have the novel and a bunch of cant about what people can supposedly feel (and when) made us quite so tone-deaf and narrow? The world is wider than the clichés we live by now suggest. There are more things in heaven and earth than are dreamt of in our psychology.

Sigh.

More and more detailed:

Michael Masiello's answer to Is "Romeo and Juliet" actually considered among Shakespeare's masterpieces, or is it simply one of his best-known works?

Sing it with Taylor.

'Cause when you're fifteen,
Somebody tells you they love you
You're gonna believe them

Juliet is a child. Children believe all kinds of things, because they’re naïve and inexperienced. That’s the point.

Romeo and Juliet’s love is foolish.