Juliet Death Quotes

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 serpent heart, hid with a flowering face! Did ever dragon keep so fair a cave? Beautiful tyrant! fiend angelical! Dove-feather'd raven! wolvish-ravening lamb! Despised substance of divinest show! Just opposite to what thou justly seem'st, A damned saint, an honourable villain! O nature, what hadst thou to do in hell; When thou didst bower the spirit of a fiend In mortal paradise of such sweet flesh? Was ever book containing such vile matter So fairly bound? O that deceit should dwell In such a gorgeous palace!

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!

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life; Whole misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.

Eyes, look your last! Arms, take your last embrace! And, lips, oh you the doors of breath, seal with a righteous kiss a dateless bargain to engrossing death!

This is a long goodbye, yet not time enough. I have no aptitude for this. I cannot learn this. I would hold on, and hold on, until my hands clutch at emptiness.

You know not, yet, the sort of love that strikes like a lightning bolt; that clutches hold of you by the heart, as irrevocably as death; that becomes the lodestar by which you steer the rest of your life. I would not wish such a love on anyone, man or woman, for it can make your life a paradise, or it can destroy you utterly.

I don’t remember Romeo being this pushy with Juliet!”.....He arched his eyebrows meaningfully. “And look at how that worked out for them. My way is better—less death, more orgasms.

Death, that hath suck'd the honey of thy breath hath had no power yet upon thy beauty.

One pain is lessened by another’s anguish. ... Take thou some new infection to thy eye, And the rank poison of the old will die.

It’s awful, telling it like this, isn’t it? As though we didn’t know the ending. As though it could have another ending. It’s like watching Romeo drink poison. Every time you see it you get fooled into thinking his girlfriend might wake up and stop him. Every single time you see it you want to shout, 'You stupid ass, just wait a minute,' and she’ll open her eyes! 'Oi, you, you twat, open your eyes, wake up! Don’t die this time!' But they always do.

true apothecary thy drugs art quick

Stronger than iron crueler than death sweeter than springtime it lives beyond breath

You were right and I was wrong. When life hurts more than death, it is not worth living.

Her blood is settled, and her joints are stiff; Life and these lips have long been separated: Death lies on her like an untimely frost Upon the sweetest flower of all the field.

O my love, my wife! Death, that hath suck'd the honey of thy breath Hath had no power yet upon thy beauty.

Courage, man; the hurt cannot be much. Mercutio: No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve. Ask for me tomorrow, and you shall find me a grave man.

.... "death turns all men into great lovers. Would that they were equally ardent while the lady was still alive!

I always want you, Jules. Even when I hated you, even when I wished I’d never see your face again, I still lost my mind thinking all the things I’d do to you, if you came back.” His voice breaks. When he speaks again, it’s with a rough, ragged tone, like he’s forcing the words out. “I’ll always want you, Juliet. It’ll be the fucking death of me, but I won’t ever stop.

He and I…we share a bond. Not love, exactly. It goes beyond that. He is mine as surely as sun follows moon across the sky. Mine before ever I knew he existed. Mine until death and beyond.

La vida es mi tortura y la muerte será mi descanso.

Dear Juliet. I could relate to her pain. Black misery painted on a blood red heart. Death would be more bearable than life without Romeo.

There are a million things in this world that can end you, that can in one second obliterate the life you work so hard to keep alive. Our lives are structured around not dying. Eating, sleeping, looking both ways before you cross the street. It's all, all of it, to keep us safe from the thing that we know is going to get us anyway. It doesn't even make sense, if you think about it. It's the world's biggest joke. Our entire lives are set up around not dying, knowing all the while that it's the one thing we can't avoid.

whats here a cup closed in my true loves hand poisin i see hath been his timeless end. oh churl drunk all and left no friendly drop to help me after. i will kiss thy lips some poisin doth hang on them, to help me die with a restorative. thy lips are warm. yea noise then ill be brief oh happy dagger this is thy sheath. there rust and let me die.

Death lies on her like an untimely frost Upon the sweetest flower of all the field.

The world is simple, I think, in its essence. Life, death, love, hate. Desire, fulfillment. Magic.

I’m gonna die,’ I say again, as we’re walking out of the tube station towards the O2 arena. ‘I’m gonna die. I’m literally gonna die.’ ‘Wouldn’t recommend that,’ says Juliet, as if she’s been on a two-week holiday to Death and gave it two out of five on TripAdvisor.

Death, of course, should not be feared, but awaited with certain wonder. To die was to step across a threshold into a new world, unknown, unimaginable.

Death is my son-in-law. Death is my heir. My daughter he hath wedded. I will die, And leave him all. Life, living, all is Death’s.

That's when it happens. The moment of death is full of heat and sound and pain bigger than anything, a funnel of burning heat splitting me in two, something searing and scorching and tearing, and if screaming were a feeling it would be this. Then nothing. I know some of you are thinking maybe I deserved it. Maybe I shouldn't have sent that rose to Juliet or dumped my drink on her at the party. Maybe I shouldn't have copied off of Lauren Lornet's quiz. Maybe I shouldn't have said those things to Kent. There are probably some of you who think I deserved it because I was going to let Rob go all the way--because I wasn't going to save myself. But before you start pointing fingers, is what I did really so bad? So bad I deserved to die? So bad I deserved to die like THAT? Is what I did really so much worse than what anybody else does? Is it really so much worse than what YOU do? Think about it.

Bran held his voice level. "In time, you will regret these words. You may hold me captive now, and believe me helpless. But each foulword you speak of her brings your death a little closer." --Bran to Eamonn

From forth the fatal loins of these two foes A pair of star-crossed lovers take their life, Whose misadventured piteous overthrows Doth with their death bury their parents’ strife. . . . O, I am fortune’s fool! . . . Then I defy you, stars.

What art thou drawn among these heartless hinds? Turn thee Benvolio, look upon thy death.

Shakespeare’s enduring tragedy did its part to further the goals of the Mercenaries—glamorizing death, making dying for love seem the most noble act of all, though nothing could be further from the truth. Taking an innocent life—in a misguided attempt to prove love or for any other reason—is a useless waste.

You know not, yet, the sort of love that strikes like a lightning bold; that clutches hold of you by the heart, as irrevocably as death; that becomes the lodestar by which you steer the rest of your life.

I used to think Romeo and Juliet was the greatest love story ever written. But now that I’m middle-aged, I know better. Oh, Romeo certainly thinks he loves his Juliet. Driven by hormones, he unquestionably lusts for her. But if he loves her, it’s a shallow love. You want proof?” Cagney didn’t wait for Dr. Victor to say yay or nay. “Soon after meeting her for the first time, he realizes he forgot to ask her for her name. Can true love be founded upon such shallow acquaintance? I don’t think so. And at the end, when he thinks she’s dead, he finds no comfort in living out the remainder of his life within the paradigm of his love, at least keeping alive the memory of what they had briefly shared, even if it was no more than illusion, or more accurately, hormonal. “Those of us watching events unfold from the darkness know she merely lies in slumber. But does he seek the reason for her life-like appearance? No. Instead he accuses Death of amorousness, convinced that the ‘lean abhorred monster’ endeavors to keep Juliet in her present state, her cheeks flushed, so that she might cater to his own dissolute desires. But does Romeo hold her in his arms one last time and feel the warmth of her blood still coursing through her veins? Does he pinch her to see if she might awaken? Hold a mirror to her nose to see if her breath fogs it? Once, twice, three times a ‘no.’” Cagney sighed, listened to the leather creak as he shifted his weight in his chair. “No,” he repeated. “His alleged love is so superficial and selfish that he seeks to escape the pain of loss by taking his own life. That’s not love, but obsessive infatuation. Had they wed—Juliet bearing many children, bonding, growing together, the masks of the star-struck teens they once were long ago cast away, basking in the comforting campfire of a love born of a lifetime together, not devoured by the raging forest fire of youth that consumes everything and leaves behind nothing—and she died of natural causes, would Romeo have been so moved to take his own life, or would he have grieved properly, for her loss and not just his own?

Hath Romeo slain himself? Say thou but ay, And that bare vowel ay shall poison more Than the death-darting eye of cockatrice. I am not I,if there be such an ay, Or those eyes shut,that make thee answer ay: If he be slain say ay,or if not,no: Brief sounds,determine of my weal or woe.

I wonder how it takes you, that moment when everything turns to shadows. - Somerled.

Either thou or I, or both, must go with him.

I do not view suicide as wicked, just terribly sad. There is only one death, but it is like a stone cast into a pond - the ripples stretch far. Such an act must leave a burden of sorrow, guilt, shame and confusion on an entire family. A natural death, such as my father suffered, is hard enough to deal with. A decision to end one's life must be still more devastating for those left behind. I cannot imagine the degree of hopelessness someone must feel to contemplate such an act.

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.

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.

it is the moral responsibility of the incompetent to identify their own weaknesses and not accept positions of power.

Face à la mort, les hommes deviennent les amoureux les plus transis.

Death turns all men into great lovers. Would that they were equally ardent while the body was still alive!

A pair of star-cross'd lovers take their life; Whole misadventured piteous overthrows Do with their death bury their parents' strife.

If someone told me at the beginning of that summer that I would come face-to-face with death because of a Romeo and Juliet romance, I would never have believed it. But it wasn't like that summer went at all like I planned in the first place.

She has vowed never to love: and that vow means I must endure a living death.

Modernity has stripped some of the magic out of the ways we live, and die

I take you, Juliette Cai," Roma whispered in concentration, "to be my lawfully wedded wife, to have and to hold, until..." He looked up as he finished the knot. Paused. When he spoke again, he did not look away. "No, scratch that. To have and to hold, where even death cannot part us. In this life and the next, for however long our souls remain, mine will always find yours. Those are my vows to you.

Girl frightened. Girl destroyed. Girl as a symptom. / Girl in a paroxysm of rage. Girl disappeared in a / death-like loss of feeling. Girl as indescribable evil. – The Only Good Girl is a Dead Girl

Wilt thou be gone? it is not yet near day: It was the nightingale, and not the lark, That pierc'd the fearful hollow of thine ear; Nightly she sings on yon pomegranate tree: Believe me, love, it was the nightingale. Rom. It was the lark, the herald of the morn, No nightingale: look, love, what envious streaks Do lace the severing clouds in yonder east: Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops: I must be gone and live, or stay and die. Jul. Yon light is not daylight, I know it, I: It is some meteor that the sun exhales, To be to thee this night a torch-bearer, And light thee on thy way to Mantua: Therefore stay yet; thou need'st not to be gone, Rom. Let me be ta'en,, let me be put to death; I am content, so thou wilt have it so. I'll say yon grey is not the morning's eye, 'T is but the pale reflex of Cynthia's brow; Nor that is not the lark, whose notes do beat The vaulty heaven so high above our heads: I have more care to stay than will to go: Come, death, and welcome! Juliet wills it so, How is't my soul? let's talk; it is not day. Jul. It is, it is; hie hence, be gone, away! It is the lark that sings so out of tune, Straining harsh discords and unpleasing sharps. Some say the lark makes sweet division; This doth not so, for she divideth us: Some say the lark and loathed toad change eyes; O! now I would they had changed voices too, Since arm from arm that voice doth us affray, Hunting thee hence with hunt's up to the day. O! now be gone; more light and light it grows. Rom. More light and light; more dark and dark our woes.

And then she turns to look at me with the same look in her eyes, and I melt the way I always do. I am the luckiest man in any world, a soul transformed, pulled back from the abyss and blessed with love more powerful than evil or death or time or space or any of the rules. "I love you," I whisper. She smiles. "Two thousand and twenty-four," she says, and then she kisses me. And it is still the best kiss.

The days carry the living along; the dead are left behind. It was disconcerting to discover how everything went on without Papa. The sun came up and went down, the roses bloomed, the birds sang, the stars wheeled overhead exactly as they had before

Death is final. The felling of trees is final. What we ask of you is simply the recognition of change, Jena. Yours is a world of constant change. You must learn to change, too. You spend a great deal of time worrying about others: trying to put their lives right, trying to shape your world as you believe it should be. You must learn to trust your instincts, or you are doomed to spend your life blinded by duty while beside you a wondrous tree sprouts and springs up and buds and blooms, and your heart takes no comfort from it, for you cannot raise your eyes to see it.

I've played Romeo for Juliet (But in depth) It's vignettes of silhouettes (And then read) And watched Russian roulette, yeah red Soviet Yet doing it simultaneously While dropping down shed oubliettes Turned around and took truth to the head that Love is the ugliest thing too beautiful for death

Meanwhile, the great ash would rest where she lay, and mosses would creep over her trunk, and tiny creatures make their homes her dim hollows. Even in death she was a link in the great chain of the forest's being.

All things that we ordained festival, Turn from their office to black funeral; Our instruments to melancholy bells, Our wedding cheer to a sad burial feast, Our solemn hymns to sullen dirges change, Our bridal flowers serve for a buried corse, And all things change them to the contrary.

Live, and be prosperous: and farewell, good fellow. Juliet! ...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 advanced 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...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... Here's to my love!...Thus with a kiss I die.

She was not the best cook, so she did not cook at all—it was important to know your limitations and not waste time attempting to do poorly what you could have someone else do for you.

Zoe is survived by her husband, Charles, and her daughter, Juliet. Survived. This guy is right. The words we use to surround death are bizarre. Like we’re hiding something. I guess the obituary wouldn’t read right if it said something like, Zoe died on the way home from the airport, after nine months on assignment in a war zone, leaving her husband, Charles, and her daughter, Juliet, with a Welcome Home cake that would sit in the refrigerator for a month before either of them could bear to throw it away. So maybe we are hiding something.

CAPULET: Ready to go, but never to return. O son! the night before thy wedding-day Hath Death lain with thy wife. There she lies, Flower as she was, deflowered by him. Death is my son-in-law, Death is my heir; My daughter he hath wedded: I will die, And leave him all; life, living, all is Death’s.

Die Welt ist nirgends außer diesen Mauern; Nur Fegefeuer, Qual, die Hölle selbst. Von hier verbannt, ist aus der Welt verbannt, Und solcher Bann ist Tod: Drum gibst du ihm Den falschen Namen. - Nennst du Tod Verbannung, Enthauptest du mit goldnem Beile mich Und lächelst zu dem Streich, der mich ermordet. There is no world without Verona walls, But purgatory, torture, hell itself. Hence banishèd is banished from the world, And world's exile is death. Then "banishèd" Is death mistermed. Calling death "banishèd", Thou cuttest my head off with a golden axe And smilest upon the stroke that murders me.

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.

My response came without thinking. I made a gesture that said, I know. I believe you. And when he held out his hand to help me up the bank, I took it without flinching, as I had done once before in a torrential downpour, when that hand had been my only grip on reality in a flight from death. I trusted him. He was a Briton, and I trusted him.

Juliet sighed and wondered if one day she would think herself to death. Was that possible? And would it be painful?

I beg for justice, which you, Prince, must give. Romeo killed Tybalt; Romeo must not live.

I'm gonna die. I'm literally gonna die.' 'Wouldn't recommend that,' says Juliet, as if she's been on a two-week holiday to Death and gave it a two out of five on TripAdvisor.

Zu früh, befürcht ich; denn mein Herz erbangt Und ahnet ein Verhängnis, welches, noch Verborgen in den Sternen, heute Nacht Bei dieser Lustbarkeit den furchtbarn Zeitlauf Beginnen und das Ziel des läst'gen Lebens, Das meine Brust verschließt, mir kürzen wird Durch irgendeinen Frevel frühen Todes. Doch er, der mir zur Fahrt das Steuer lenkt, Richt' auch mein Segel! I fear, too early. For my mind misgives Some consequence, yet hanging in the stars, Shall bitterly begin his fearful date With this night's revels, and expire the term Of a despisèd life, closed in my breast, By some vile forfeit of untimely death. But He that hath the steerage of my course Direct my sail! Romeo: Act I, Scene 4

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.

Stories become great by hacking your brain. Nothing that happens in fiction matters. The people in fiction are fictional so their triumphs and tragedies have literally no consequence. The death of the yogurt you doomed to a fiery death in your gut acid this morning is finitely more tragic than the "deaths" of Romeo and Juliet. The yogurt was alive and then it died. Romeo and Juliet never lived in the first place.

Tis torture and not mercy. Heaven is here, Where Juliet lives, and every cat and dog And little mouse, every unworthy thing, Live here in heaven and may look on her, But Romeo may not. More validity, More honorable state, more courtship lives In carrion flies than Romeo. They may seize On the white wonder of dear Juliet’s hand And steal immortal blessing from her lips, Who even in pure and vestal modesty, Still blush, as thinking their own kisses sin. But Romeo may not. He is banishèd. Flies may do this, but I from this must fly. They are free men, but I am banishèd. And sayst thou yet that exile is not death? Hadst thou no poison mixed, no sharp-ground knife, No sudden mean of death, though ne'er so mean, But “banishèd” to kill me?—“Banishèd”! O Friar, the damnèd use that word in hell. Howling attends it. How hast thou the heart, Being a divine, a ghostly confessor, A sin-absolver, and my friend professed, To mangle me with that word “banishèd”?

It was quiet; so quiet. Didn't these people know how to grieve for a good man? Didn't they know how to weep, and scream with rage, and curse the powers of darkness in their sorrow? Didn't they know how to hold one another, and dry one another's tears, and tell tales of the things he had done, and of what he had been, to see him safe on his way? Where were the great fires, and the toasts in strong ale, and the scent of burning juniper?

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.

Evermore weeping for your cousin’s death? What, wilt thou wash him from his grave with tears? An if thou couldst, thou couldst not make him live; Therefore, have done: some grief shows much of love; But much of grief shows still some want of wit. JULIET: Yet let me weep for such a feeling loss. LADY CAPULET: So shall you feel the loss, but not the friend Which you weep for. JULIET: Feeling so the loss, Cannot choose but ever weep the friend. LADY CAPULET: Well, girl, thou weep’st not so much for his death, As that the villain lives which slaughter’d him.

Your part in her you could not keep from death, But heaven keeps his part in eternal life. The most you sought was her promotion; For ’twas your heaven she should be advanced: And weep ye now, seeing she is advanced Above the clouds, as high as heaven itself? O, in this love, you love your child so ill, That you run mad, seeing that she is well: She’s not well married that lives married long; But she’s best married that dies married young.

Most recently, these people have been emigrants trying to get into Italy, not emigrants trying to leave, and their passage is no easier or safer than that of their antecedents. Thousands of refugees from Syria, Libya, Eritrea, Somalia, Ghana, and Nigeria have died off the coasts of Italy in the last ten years, capsized, drowned, sunk in flames. History marches on, and names and destinations change, but not the injustices we let one another suffer.

In the enraptured audiences that have flocked to the play for more than four hundred years, Juliet in effect gets her wish that after death, night should take Romeo 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. (III.ii.22–24)

It put him in mind of the grand death of Julius Caesar, stabbed by a throng of Roman senators and dying very decoratively, scarlet on marble, harmoniously framed by columns. Would that some great Sienese could bring himself to die in a like manner, allowing the Maestro to indulge in the scene on a local wall.

Death is my son-in-law, Death is my heir

Within the infant rind of this weak flower Poison hath residence, and medicine power.

personally, I am beginning to think death is mostly a matter of opinion.

Love is simply too strong a word to be of much use in ordinary, day-to-day relationships. Love is for Romeo and Juliet.

She wondered how to mourn the death of a son who wasn't dead. And yet the loss of separation made that easy. The idea of pain made pain, where she knew none could possibly truly exist.

One woman sent me on a letter written to her by her daughter, and the young girl's words are a remarkable statement about artistic creation as an infinitely versatile and subtle form of communication: '...How many words does a person know?' she asks her mother. 'How many does he use in his everyday vocabulary? One hundred, two, three? We wrap our feelings up in words, try to express in words sorrow and joy and any sort of emotion, the very things that can't in fact be expressed. Romeo uttered beautiful words to Juliet, vivid, expressive words, but they surely didn't say even half of what made his heart feel as if it was ready to jump out of his chest, and stopped him breathing, and made Juliet forget everything except her love? There's another kind of language, another form of communication: by means of feeling, and images. That is the contact that stops people being separated from each other, that brings down barriers. Will, feeling, emotion—these remove obstacles from between people who otherwise stand on opposite sides of a mirror, on opposite sides of a door.. The frames of the screen move out, and the world which used to be partitioned off comes into us, becomes something real... And this doesn't happen through little Audrey, it's Tarkovsky himself addressing the audience directly, as they sit on the other side of the screen. There's no death, there is immortality. Time is one and undivided, as it says in one of the poems. "At the table are great-grandfathers and grandchildren.." Actually Mum, I've taken the film entirely from an emotional angle, but I'm sure there could be a different way of looking at it. What about you? Do write and tell me please..

Tancredi and Angelica were passing in front of them at that moment, his gloved right hand on her waist, their outspread arms interlaced, their eyes gazing into each other's. The black of his tail coat, the pink of her dress, combining formed a kind of strange jewel. They were the most moving sight there, two young people in love dancing together, blind to each other's defects, deaf to the warnings of fate, deluding themselves that the whole course of their lives would be as smooth as the ballroom floor, unknowning actors made to play the parts of Juliet and Romeo by a director who had concealed the fact that tomb and poison were already in the script. Neither of them was good, each full of self-interest, swollen with secret aims; yet there was something sweet and touching about them both; those murky but ingenuous ambitions of theirs were obliterated by the words of jesting tenderness he was murmuring in her ear, by the scent of her hair, by the mutual clasp of those bodies of theirs destined to die. . . For them death was purely an intellectual concept, a fact of knowledge as it were and no more, not an experience which pierced the marrow of their bones. Death, oh yes, it existed of course, but it was something that happened to others. The thought occurred to Don Fabrizio that it was ignorance of this supreme consolation that made the young feel sorrows much more sharply than the old; the latter are nearer the safety exit.

His words hit me. He knew about Mila’s and Gabriel’s love… perhaps he could change things. If he did, Eli and I could be together freely, but until then there was no happy ending. I could feel it. The love that Eli and I have was great, but when has any great love in history ended well? Romeo and Juliet, Cleopatra and Mark Antony, or Tristan and Isolde? Each and every one ended in tragedy, be it death or banishment.

before I could reach a conclusion as to whether I’d fallen in love or not, I was terrified by the fate of the lovers I’d gone over in my mind. Almost all of them had suffered a sorrowful fate, ending in death and disaster Layli and Majnun, death and disaster. Shirin and Farhad, death and disaster. Romeo and Juliet, death and disaster. Paul and Virginie, death and disaster. That love story in the newspaper, death and disaster.

Juliet and Romeo die at the end,' I said. 'Do they really, though?' Monroe asked. 'I didn’t know that that matters, when they sure did live. It’s as simple as this, their secret. When you love somebody, you live, and you live goddamn well.

After Chaucer’s death, Henry IV offered his position to Christine de Pizan, no doubt hoping that as she was a widow and her only child, her sixteen-year-old son, was effectively a hostage in his household, she could be persuaded to agree. If so, he completely misjudged this redoubtable woman, who had once replied to criticism “that it was inappropriate for a woman to be learned, as it was so rare . . . that it was even less fitting for a man to be ignorant, as it was so common.

All women are twins. All women are fundamentally two in one, our most essential structural feature being our bipolar nature entrained with the ceaseless rhythms of the 'inconstant Moon,' to quote Shakespeare's Juliet. Each one of us, for much of her adult life, moves monthly between the light and dark poles of hormonal and emotional fluctuation-from ovulation to menstruation. At one point expanded, then introverted; reaching out and going within; we descend to depths of unfathomable complexity and return to the world empowered and ready to begin again. Unlike the linear, one-pointed man, women (and the ancient religions of the Goddess) flow with the cyclic rhythms of the waxing and waning Moon, with its birth, death, and rebirth.

It's like Romeo & Juliet,' I say. 'You can't separate them. Otherwise, there would be no Shakespeare.' Silence. I decide to be more straightforward. I tell him, 'Nothing frightens me anymore. I am not even afraid to die.' Bussey's eyes, already wide open, grow even wider. My death is the last thing he needs. I have the strange feeling that there are two of me. One observes the conversation while the other does the talking. Everything is abnormal, especially this extreme calm that has taken me over. I try to explain to Bussey that if I decide to die, it will be without bitterness. I know I did everything I possibly could, so it will be respectful farewell. I will bow to life like an actor, who, having delivered his lines, bends deeply to his audience & retires. I tell Bussey that this decision has nothing to do with him, that it is entirely mine. I will choose either to live or to die, but I cannot allow myself to live in the in-between. I do not want to go through life like a ghost. 'Do you think you'll find Danny this way?' Bussey asks. My mind sifts through all available theories on the afterlife. It is as if this metaphysical question has become as real as the air we breathe. Buddhism teaches that life is an eternal cycle without beginning or end. I recall the metaphor: "Our individual lives are like waves produced from the great ocean that is the universe. The emergence of a wave is life, and its abatement is death. This rhythm repeats eternally." Finally I answer Bussey, 'No, I don't think so.' Bussey seems relieved, but I'm more panicky, because I had never thought that I could wind up alone. In my mind, whatever the odds, Danny & I were & would be together forever.

Forgive me, cousin.—Ah, dear Juliet, Why art thou yet so fair? Shall I believe That unsubstantial death is amorous, And that the lean abhorrèd 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. Oh, 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.

People write tragedies in which fatal blondes betray their paramours to ruin, which Cressidas, Cleopatras, Delilahs, and sometimes even naughty daughters like Jessica bring their lovers or their parents to distress: but these are not the heart of tragedy. They are fripperies to the soul of man. What does it matter if Antony did fall upon his sword? It only killed him. It is the mother's not the lover's lust that rots the mind. It is that which condemns the tragic character to his walking death. It is Jocasta, not Juliet, who dwells in the inner chamber. It is Gertrude, not the silly Ophelia, who sends Hamlet to his madness. The heart of tragedy does not lie in stealing or taking away. Any featherpated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself--his soul stolen, overlaid, wizened, while the mother-character lives in triumph, superfluously and with stifling love endowed on him, seemingly innocent of ill-intention. Mordred was the only son of Orkney who never married. He, while his brothers fled to England, was the one who stayed alone with her for twenty years--her living larder. Now that she was dead, he had become her grave. She existed in him like the vampire. When he moved, when he blew his nose, he did it with her movement. When he acted he became as unreal as she had been, pretending to be a virgin for the unicorn. He dabbled in the same cruel magic. He had even begun to keep lap dogs like her--although he had always hated hers with the same bitter jealousy as that with which he had hated her lovers.

Hold thy desperate hand: Art thou a man? thy form cries out thou art: Thy tears are womanish; thy wild acts denote The unreasonable fury of a beast: Unseemly woman in a seeming man! Or ill-beseeming beast in seeming both! Thou hast amazed me: by my holy order, I thought thy disposition better temper’d. Hast thou slain Tybalt? wilt thou slay thyself? And stay thy lady too that lives in thee, By doing damned hate upon thyself? Why rail’st thou on thy birth, the heaven, and earth? Since birth, and heaven, and earth, all three do meet In thee at once; which thou at once wouldst lose. Fie, fie, thou shamest thy shape, thy love, thy wit; Which, like a usurer, abound’st in all, And usest none in that true use indeed Which should bedeck thy shape, thy love, thy wit: Thy noble shape is but a form of wax, Digressing from the valour of a man; Thy dear love sworn but hollow perjury, Killing that love which thou hast vow’d to cherish; Thy wit, that ornament to shape and love, Misshapen in the conduct of them both, Like powder in a skitless soldier’s flask, Is set afire by thine own ignorance, And thou dismember’d with thine own defence. What, rouse thee, man! thy Juliet is alive, For whose dear sake thou wast but lately dead; There art thou happy: Tybalt would kill thee, But thou slew’st Tybalt; there are thou happy too: The law that threaten’d death becomes thy friend And turns it to exile; there art thou happy: A pack of blessings lights up upon thy back; Happiness courts thee in her best array; But, like a misbehaved and sullen wench, Thou pout’st upon thy fortune and thy love: Take heed, take heed, for such die miserable. Go, get thee to thy love, as was decreed, Ascend her chamber, hence and comfort her: But look thou stay not till the watch be set, For then thou canst not pass to Mantua; Where thou shalt live, till we can find a time To blaze your marriage, reconcile your friends, Beg pardon of the prince, and call thee back With twenty hundred thousand times more joy Than thou went’st forth in lamentation. Go before, nurse: commend me to thy lady; And bid her hasten all the house to bed, Which heavy sorrow makes them apt unto: Romeo is coming.

As the first clod of earth hit her mother’s coffin, Juliet could barely catch a breath. Her mother would suffocate beneath all that earth, she thought, but Juliet was suffocating too. An image came to her mind—the martyrs who were pressed to death by stones piled on top of them. That is me, she thought, I am crushed by loss. “Don’t seek out elaborate metaphors,” her English teacher had said of her school essays, but her mother’s death had revealed that there was no metaphor too ostentatious for grief. It was a terrible thing and demanded embellishment.

If you have felt that way,” said Juliet, “how can you despise her?” “I still don’t understand why you have suddenly decided that we don’t all deserve death and suffering,” said Runajo. “How recently did you tell me that we lived in a charnel house?” Through the bond, she felt something like a flinch from Juliet. Then there was silence, and the sense of a wall between them. After several moments, Juliet said quietly, “I do not—perhaps—wish to see you dead.” “That’s boring and inconstant,” said Runajo. “If we deserve death, then wish us dead. Don’t indulge in half measures and wish us alive to keep on killing.

I recall a discussion with a highly-respected psychotherapist colleague and friend on the significance of the tragedy of Romeo and Juliet. My friend stated that the trouble with Romeo and Juliet was that they hadn't had adequate counseling. If they had had, they would not have committed suicide. Taken aback, I protested that I didn't think that was Shakespeare's point at all, and that Shakespeare, as well as the other classical writers who have created and molded the literature which speaks to us age after age, is in this drama picturing how sexual love can grasp a man and woman and hurl them into heights and depths—the simultaneous presence of which we call tragic. But my friend insisted that tragedy was a negative state and we, with our scientific enlightenment, had superseded it—or at least ought to at the earliest possible moment. I argued with him, as I do here, that to see the tragic in merely negative terms is a profound misunderstanding. Far from being a negation of life and love, the tragic is an ennobling and deepening aspect of our experience of sexuality and love. An appreciation of the tragic not only can help us avoid some egregious oversimplifications in life, but it can specifically protect us against the danger that sex and love will be banalized also in psychotherapy.

You probably don't come to visit as often as you should, and when you do come to visit, it is offensive to Auntie Tina how little you'll eat. All this seems like an Italian grandmother joke, but I assure you Tina Caramanico is quite serious. There are two ways to handle this overfeeding situation. You can yell at her to stop putting food on your plate, then feel guilty about yelling at an old woman. Or you can avoid conflict, eat quietly, and suffer only physically afterward. The first time I brought my husband to meet her, Auntie Tina told me admiringly, “He eats so nicely.” This is a thing Italian grandmothers say about men who don’t yell at them during dinner.

So to you Elsa Greer spoke in the words of Juliet?’ ‘Yes. She was a spoiled child of fortune-young, lovely, rich. She found her mate and claimed him-no young Romeo, a married, middle-aged painter. Elsa Greer had no code to restrain her, she had the code of modernity. “Take what you want-we shall only live once!’ He sighed, leaned back, and again tapped gently on the arm of his chair. ‘A predatory Juliet. Young, ruthless, but horribly vulnerable! Staking everything on the one audacious throw. And seemingly she won…and then-at the last moment-death steps in-and the living, ardent, joyous Elsa died also. There was left only a vindictive, cold, hard woman, hating with all her soul the woman whose hand had done this thing.’ His voice changed: ‘Dear, dear. Pray forgive this little lapse into melodrama. A crude young woman-with a crude outlook on life. Not, I think, an interesting character.Rose white youth, passionate, pale, etc. Take that away and what remains? Only a somewhat mediocre young woman seeking for another life-sized hero to put on an empty pedestal.’ Poirot said: ‘If Amyas Crale had not been a famous painter-’ Mr Jonathan agreed quickly. He said: ‘Quite-quite. You have taken the point admirably. The Elsas of this world are hero-worshippers. A man must havedone something, must be somebody…Caroline Crale, now, could have recognized quality in a bank clerk or an insurance agent! Caroline loved Amyas Crale the man, not Amyas Crale the painter. Caroline Crale was not crude-Elsa Greer was.