& Juliet Musical Quotes

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

Armistice Day has become Veterans' Day. Armistice Day was sacred. Veterans' Day is not. So I will throw Veterans' Day over my shoulder. Armistice Day I will keep. I don't want to throw away any sacred things. What else is sacred? Oh, Romeo and Juliet, for instance. And all music is.

How silver-sweet sound lovers' tongues by night, like softest music to attending ears.

His touch was like a bard's on his instrument, and it awakened a deep and mysterious music in my body.

Don't worry about it, my child. Tell yourself that you are experiencing a true love story. But of course. Have you ever seen anyone write a poem about the woman he married and who yells at him four times a day? Do you think that if Romeo and Juliet had had six children together, there would have been a book about them? You're suffering! That's why you're playing so well now!

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 neighbours air, and let rich music’s tongue Unfold the imagined happiness that both Receive in either by this dear encounter.

I can’t remember how long it’s been since we’ve seen such a fab show! This was drama-tastic! Better than Romeo and Juliet. Better than The Sound of Music, South Park, Trueblood, Dexter, My Little Pony, and Shrek put together!

Ever hear a song you love so much you wanna break sh*t?

There was the same need for obscurity, the same suspicion that if a piece of music had reached a large number of people, it had somehow been drained of its worth.

Do you need someone to talk to?" she said gently. "Oh. Thank you. No, no, I'm fine." He touched his face – he'd been crying harder than he'd realized. "You sure? You don't look fine." "No, really. I've just . . . I've just had a very intense emotional experience." He held out one of his iPod headphones, as if that would explain it. "On here." "You're crying about music?" The woman looked at him as if he were some kind of pervert. "Well," said Duncan. "I'm not crying about it. I'm not sure that's the right preposition." She shook her head and walked off.

Silence can bring with it a vacancy that in its turn craves the distraction of the human voice or the obscuring impact created...by music. These distractions can help to stifle the terror of being abandoned to the silence of the noisy mind.

That’s what high school does for you: gives you some art and music and history so that even if you spend your life raising kids and writing computer programs, still there was a time when you argued about the First Amendment and talked about the Civil War and read Romeo and Juliet.

Of course Tucker Crowe was in pain when he made [the record], but he couldn't just march into a recording studio and start howling. He'd have sounded mad and pathetic. He had to calm the rage, tame it and shape it so that it could be contained in the tight-fitting songs. Then he had to dress it up so that it sounded more like itself.

Umm, Ren? We have something important we need to discuss. Meet me on the veranda at sundown, okay?” He froze with his sandwich halfway to his mouth. “A secret rendezvous? On the veranda? At sundown?” He arched an eyebrow at me. “Why, Kelsey, are you trying to seduce me?” “Hardly,” I dryly muttered. He laughed. “Well, I’m all yours. But be gentle with me tonight, fair maiden. I’m new at this whole being human business.” Exasperated, I threw out, “I am not your fair maiden.” He ignored my comment and went back to devouring his lunch. He also took the other half of my discarded peanut butter sandwich and ate that too, commenting, “Hey! This stuff’s pretty good.” Finished, I walked over to the kitchen island and began clearing away Ren’s mess. When he was done eating, he stood to help me. We worked well together. It was almost like we knew what the other person was going to do before he or she did it. The kitchen was spotless in no time. Ren took off his apron and threw it into the laundry basket. Then, he came up behind me while I was putting away some glasses and wrapped his arms around my waist, pulling me up against him. He smelled my hair, kissed my neck, and murmured softly in my ear, “Mmm, definitely peaches and cream, but with a hint of spice. I’ll go be a tiger for a while and take a nap, and then I can save all my hours for you this evening.” I grimaced He was probably expecting a make-out session, and I was planning to break up with him. He wanted to spend time with a girlfriend, and my intention was to explain to him how we weren’t meant to be together. Not that we were ever officially together. Still, it felt like a break-up. Why does this have to be so hard? Ren rocked me and whispered, “’How silver-sweet sound lovers’ tongues by night, Like soft music to attending ears.’” I turned around in his arms, shocked. “How did you remember that? That’s Romeo and Juliet!” He shrugged. “I paid attention when you were reading it to me. I liked it.” He gently kissed my cheek. “See you tonight, iadala,” and left me standing there. The rest of the afternoon, I couldn’t focus on anything. Nothing held my attention for more than a few minutes. I rehearsed some sentences in front of the mirror, but they all sounded pretty lame to me: “It’s not you, it’s me,” “There are plenty of other fish in the sea,” “I need to find myself,” “Our differences are too big,” “I’m not the one,” “There’s someone else.” Heck, I even tried “I’m allergic to cats.

Thank you,' said Annie. 'Second thing : Juliet is brilliant. Don't lump the music in with the rest of it.' 'Have you been taking any of this in ?' 'Yes. You're a very bad man. You've been a useless father to four of your five children, and a useless husband to every single one of your wives, and a rubbish partner to every single one of your girlfriends? And Juliet is still brilliant.

To fill the days up of his dateless year Flame from Queen Helen to Queen Guenevere? For first of all the sphery signs whereby Love severs light from darkness, and most high, In the white front of January there glows The rose-red sign of Helen like a rose: And gold-eyed as the shore-flower shelterless Whereon the sharp-breathed sea blows bitterness, A storm-star that the seafarers of love Strain their wind-wearied eyes for glimpses of, Shoots keen through February's grey frost and damp The lamplike star of Hero for a lamp; The star that Marlowe sang into our skies With mouth of gold, and morning in his eyes; And in clear March across the rough blue sea The signal sapphire of Alcyone Makes bright the blown bross of the wind-foot year; And shining like a sunbeam-smitten tear Full ere it fall, the fair next sign in sight Burns opal-wise with April-coloured light When air is quick with song and rain and flame, My birth-month star that in love's heaven hath name Iseult, a light of blossom and beam and shower, My singing sign that makes the song-tree flower; Next like a pale and burning pearl beyond The rose-white sphere of flower-named Rosamond Signs the sweet head of Maytime; and for June Flares like an angered and storm-reddening moon Her signal sphere, whose Carthaginian pyre Shadowed her traitor's flying sail with fire; Next, glittering as the wine-bright jacinth-stone, A star south-risen that first to music shone, The keen girl-star of golden Juliet bears Light northward to the month whose forehead wears Her name for flower upon it, and his trees Mix their deep English song with Veronese; And like an awful sovereign chrysolite Burning, the supreme fire that blinds the night, The hot gold head of Venus kissed by Mars, A sun-flower among small sphered flowers of stars, The light of Cleopatra fills and burns The hollow of heaven whence ardent August yearns; And fixed and shining as the sister-shed Sweet tears for Phaethon disorbed and dead, The pale bright autumn's amber-coloured sphere, That through September sees the saddening year As love sees change through sorrow, hath to name Francesca's; and the star that watches flame The embers of the harvest overgone Is Thisbe's, slain of love in Babylon, Set in the golden girdle of sweet signs A blood-bright ruby; last save one light shines An eastern wonder of sphery chrysopras, The star that made men mad, Angelica's; And latest named and lordliest, with a sound Of swords and harps in heaven that ring it round, Last love-light and last love-song of the year's, Gleams like a glorious emerald Guenevere's.

To the Nightingale On what secret night in England Or by the incalculable constant Rhine, Lost among all the nights of my nights, Carried to my unknowing ear Your voice, burdened with mythology, Nightingale of Virgil, of the Persians? Perhaps I never heard you, yet my life I bound to your life, inseparably. A wandering spirit is your symbol In a book of enigmas. El Marino Named you the siren of the woods And you sing through Juliet’s night And in the intricate Latin pages And from the pine-trees of that other, Nightingale of Germany and Judea, Heine, mocking, burning, mourning. Keats heard you for all, everywhere. There’s not one of the bright names The people of the earth have given you That does not yearn to match your music, Nightingale of shadows. The Muslim Dreamed you drunk with ecstasy His breast trans-pierced by the thorn Of the sung rose that you redden With your last blood. Assiduously I plot these lines in twilight emptiness, Nightingale of the shores and seas, Who in exaltation, memory and fable Burn with love and die melodiously.

Juliet and Romeo Awake the scene, a twilight chamber’d dream, Two angels both alike in dignity: One imaged misadventure on the screen; The second struck by moonlight’s alchemy. A pair of star-crossed lovers spends their night; He in deed dreams such a sight as she, Swing crystal scales to crispest fair delight. In his eyes her merry fragrant dance: she Civil thoughts and civil music meet; on Fair Lansdowne Street where love lays its scene, Romeo and Juliet did greet; within Their airy eyes on hopes and thoughts unseen. The curtain lifts on this sweet poem with woe, For love to find Juliet and her Romeo.

The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and on that evening, Christine Daaé had revealed her true self, for the first time, to the astonished and and enthusiastic audience. Gounod had conducted the Funeral March of a Marionette; Reyer, his beautiful overture to Siguar; Saint Saëns, the Danse Macabre and a Rêverie Orientale, Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia. But the real triumph was reserved for Christine Daaé, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in Faust, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it. Daaé revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to it its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daaé had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daaé, at a moment's warning, to show all that she could do in a part of the programme reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daaé, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practice alone for the future. The whole thing was a mystery.

be funny nor attempt to deal analytically with social ills.4 Even the original title (Gangway!) and the original setting (warring Catholics and Jews in a modern-day Romeo and Juliet story) held little promise for commercial or artistic success. In addition, the show would feature no stars, and the cast—consisting primarily of dancers—might be inexperienced kids pulled from the streets of New York (if the New York press was to be believed), not from dance rehearsal halls. The score, written by a classical music conductor, would be dissonant and fiendishly difficult to play and sing and would include—of all things—a fugue. The teenagers, whose dialogue was written by a middle-aged Jewish playwright, would speak in an invented street slang, uttering lines like “womb to tomb” and “cracko Jacko.” The backers’ meetings continually and repeatedly failed to attract investors for producer Cheryl Crawford, who finally dumped the project shortly before rehearsals were to begin. It is no surprise that no one thought this show would succeed.

Naples, however, did not need buskers: the cacophony of frenzied traffic made its own music with melodic beeping of horns in a repertoire of rhythms and beats reflecting drivers’ moods. Stravinsky might have composed the music as a choreographer might have choreographed the vehicles’ dances – zigzagging, twisting, turning, stopping and starting.

I know the adolescent phenomenon of staring wistfully out of a rainy car window and pretending you're in an Avril Lavigne music video doesn't belong exclusively to lesbians, but I'm talking about the collective energy of this experience. Lesbians are the energy of staring wistfully out of a rainy car window and pretending you're in an Avril Lavigne music video, personified. And that's because yearning is an inherent part of the queer female experience. And I'm not talking about, like, the 2018 awards cycle, when Bradley Cooper and Lady Gaga essentially performed yearning to sell their movie. I'm also not talking about Sally Rooney's Normal People, which is about a heterosexual couple who, for reasons unbeknownst, cannot be together because one plays football and the other one... reads books? Straight people, someone needs to tell you this once and for all. You are allowed to be together. You have always been allowed to be together. Romeo and Juliet is essentially hetero fanfic about what it's like to be gay. Your parents hate each other-who cares! For people who experience same-sex attraction, sometimes yearning is all we have. For me, yearning used to be everything-so much so that it damaged the relationships in my adult life. But before I had yearning, I existed in the Thirst Vacuum-a space that was so dark, so desolate, I couldn't yearn for anyone at all.

a leading copyright commentator concludes—with good reason—that if Shakespeare’s Romeo and Juliet were protected by copyright today, the Broadway musical West Side Story might well be found to infringe.

She appeared to be near seventeen years of age, but looked like a vision from the Greek tragedies. With plaited coils of dark luscious hair, lips like the petals of a rose, and large, deep eyes that contained all the delight of her passion. She was the loveliest girl I have ever seen in all my life. Then she spoke. I have never heard such a voice before. It seemed she was instantly Juliet. From deep tones to flute-like music like the lark, she spoke and sang her parts with an excitement that stirred the whole audience. She concluded to thunderous applause and I could barely contain my own appreciation.

I obsessed over which Ani DiFranco song to add to Lainie’s tape. When we first started dating, I had no idea who Ani DiFranco was. Lainie, shocked to baby-dyke hell, made it her mission to convert me. And yo, it took a lot of work. Ani was crazy white girl shit. Her music evoked images of Irish bagpipes and stray cats howling in heat. Her garbled singing voice made my eyes water, and I couldn’t ever be sure of what she was singing about. But with enough practice and encouragement from Lainie, I broke down Ani’s gay girl code and understood that I too was just a little girl in a training bra trying to figure shit out.

Her tone is flippant, but there’s a tension in her smile that makes me wonder. After all, I hid my own problem being a casual joke about Shakespeare. And her mother controls her music career and contracts as her manager. It reminds me that we’re all fighting here, even as we smile and study and behave like good little girls. Like Juliet. We’re all fighting to control our own destinies. Even if it ends in tragedy.

You don't understand," I said pleadingly as if to a higher power, longing to use my hands to gesture with, to make him see, to get him to understand that these were different times, with a different breed of men - the kind necessary to forge a new land, a better country, one that made use of its resources rather than letting them lie fallow. "I understand," he said, however. "You wanted to make us cry. And so you did. You wanted our land, so you took it. You wanted us out of the way, so you killed us in our lodges. Is there more to it, Three-Persons?

You killed this man and...and his children because I fathered them?" I asked. "Because all of your blood has to spill," Good Stab said, himself again, grim and vengeful. "When will it be enough?" I asked. "When will napikwans have enough of our land?" he asked back. I shut my eyes.

I wasn't expecting Etsy, though. I wasn't expecting this academic wrapper at all, really. But, I'm not the boss. I just run along that splintery, decrepit fence between worlds and write down what I can see from the cracks and holes along the way. I don't think this is how Tolstoy did it, no. --- Acknowledgements