Romeo And 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!

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

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.

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.

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

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.

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.

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

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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”?

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.

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)

Can vengeance be pursued further than death?

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

Hath Death Iain with thy wife.

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

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

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.

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.

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.

But the other thing about Romeo and Juliet? Both only children. Not a sister between them. And you can tell because even when you’re happy and don’t want to hear it, sisters won’t let you settle a blood feud or fake your own death. Sisters don’t care how he’s magic or how it feels when his hands touch your face and his eyes meet your eyes or how much he changes your life and opens your world and everything in it, especially you. They won’t green-light your ill-founded, life-ruining plan just because you’re in love. With sisters, at the very least, you’re going to need a much better reason than that.

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.

মরকেশ ওর তবে, অম্নি হবে না, মন্তর পড়ে ডাকি। ও রোমিও হতভাগা, ও খ্যাপা উন্মাদ, ওরে বায়ু-পিত্তি-কফ, কোথা মত্তে গেলি? আয় একবার দেখা দে। নয় একটা দীর্ঘশ্বাস ফেলে জানান দে। একবারটি না হয় বল—উঃ উঃ প্রাণ যায়! না হয় বল—হা পীরিতি সুধার বোতল! না হয় সেই কাণা চোখো ঠাকুরটির কুচ্ছ দুটো গা— যিনি খুঁজে খুঁজে আর কাকেও না পেয়ে , জেলের মেয়েটাকে নেলান্ পরাশর ঋষিটা। কহ হে কিছু হচ্ছে না যে! নড়েও না কেউ তবে সেটা মলো নাকি রে— “ঘেউ ঘেউ”? এবার রসো, তবে আর একটা মন্ত্র ঝাড়ি, ফির্‌তে এতে, গিয়েও যদি থাকে যমের বাড়ী। হাঁ দ্যাখ তোকে তোর দিব্বি—সেই যার মাথায় চূড়ো। সেই উঁচু-কপালী ভাঁটাচোখী, গায়ে সাদাগুঁড়ো, সেই বেগুনি-রঙা ঠোঁটের দিব্বি একবার দেখা দে, না দিস তো সেটাকে যমকে ডেকে দে।

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.

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 had planned in the first place. The Columbia recruiter sat across from me, her dark bushy eyebrows rising as high as they could go while she stared down at my application. "So, Alex, I see that you don't have any extracurricular activities." I shrugged. I was sitting in one of those uncomfortable orange plastic chairs in the guidance counselor's office, wishing I could just disappear. I was the first student in all of Winnebago High School's history to have a recruiter from an Ivy League school visit. By the way she looked at our tiny school with its ancient, chipped walls and rusted lockers, I could see why nobody had wanted to visit in the past.

Do fate and life really bestow such misfortunes? Do people really have to join forces and separate so inexorably and ruthlessly two children, two vital young beings, attracted to one another by invincible sympathy and love? Upon returning to my room I sat down, exhausted, as if after a long day’s march; a terrible, oppressive feeling of loneliness took possession of my soul. At that moment I would have given half my life for one hour of another meeting. If I’d known what was awaiting me, I would, of course, without even thinking, have given my entire life for nothing and died willingly with my unlimited trust in him, in total satisfaction, in the full flowering of my first chaste feeling, still uncrushed, not yet humiliated in my own eyes, with an inviolably pure and unattainably lofty ideal in my soul. Yes, our love was pure and holy; to die then and there – would mean to die like Romeo and Juliet. I don’t know of a loftier, more beautiful, splendid death!

The death of the yogurt you doomed to a fiery death in your gut acid this morning is infinitely more tragic than the “deaths” of Romeo and Juliet. The yogurt was alive and then it died. Romeo

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character. The main source, on the contrary, is in every case evil; and, what is more (though this seems to have been little noticed), it is in almost every case evil in the fullest sense, not mere imperfection but plain moral evil. The love of Romeo and Juliet conducts them to death only because of the senseless hatred of their houses. Guilty ambition, seconded by diabolic malice and issuing in murder, opens the action in Macbeth. Iago is the main source of the convulsion in Othello; Goneril, Regan and Edmund in King Lear. Even when this plain moral evil is not the obviously prime source within the play, it lies behind it: the situation with which Hamlet has to deal has been formed by adultery and murder. Julius Caesar is the only tragedy in which one is even tempted to find an exception to this rule. And the inference is obvious. If it is chiefly evil that violently disturbs the order of the world, this order cannot be friendly to evil or indifferent between evil and good, any more than a body which is convulsed by poison is friendly to it or indifferent to the distinction between poison and food.

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.

No, I'll mostly be watching you, anyway.’ His fingers traced patterns across the skin of my arm, raising goosebumps. ‘Will you cry?’ ‘Probably,’ I admitted, ‘if I'm paying attention.’ ‘I won't distract you then.’ But I felt his lips on my hair, and it was very distracting. The movie eventually captured my interest, thanks in large part to Marcel whispering Romeo's lines in my ear-his irresistible, velvet voice made the actor's voice sound week and coarse by comparison. And I did cry, to his amusement, when Juliet woke and found her new husband dead. ‘I'll admit, I do sort of envy him here, ‘Marcel said, drying the tears with a lock of my hair. ‘She's very pretty.’ He made a disgusted sound. ‘I don't envy him the girl-just the ease of the suicide,’ he clarified in a teasing tone. ‘You humans have it so easy! All you have to do is throw down one tiny vial of plant extracts…’ ‘What?’ I gasped. ‘It's something I had to think about once, and I knew from Chiaz's experience that it wouldn't be simple. I'm not even sure how many ways Chiaz tried to kill himself in the beginning… after he realized what he'd become…’ His voice, which had grown serious, turned light again. ‘And he's still in excellent health.’ I twisted around so that I could read his face. ‘What are you talking about?’ I demanded. ‘What do you mean, this something you had to think about once?’ ‘Last spring, when you were… nearly killed…’ He paused to take a deep breath, snuggling to return to his teasing tone. ‘Of course, I was trying to focus on finding you alive, but part of my mind was making contingency plans. As I said, it's not as easy for me as it is for a human.’ For one second, the memory of my last trip to Phoenix washed over my head and made me feel dizzy. I could see it all so clearly-the the blinding sun, the heat waves coming off the concrete as I ran with desperate haste to find the sadistic angel who wanted to torture me to death. James, waiting in the mirrored room with my mother as his hostage-or so I'd thought. I hadn't known it was all a ruse. Just as James hadn't known that Marcel was racing to save me; Marcel made it in time, but it had been a close one. Unthinkingly, my fingers traced the crescent-shaped scar on my hand that was always just a few degrees cooler than the rest of my skin. I shook my head as if I could shake away the bad memories and tried to grasp what Marcel meant. My stomach plunged uncomfortably. ‘Contingency plans?’ I repeated. ‘Well, I wasn't going to live without you.’ He rolled his eyes as if that fact were childishly obvious. ‘But I wasn't sure how to do it- I knew Emmah and Joh would never help… so I was thinking maybe I would go to Italy and do something to provoke the Ministry.’ I didn't want to believe he was serious, but his golden eyes were brooding, focused on something far away in the distance as he contemplated ways to end his own life. Abruptly, I was furious. ‘What is Vulture?’ I demanded. ‘The Ministry is a family,’ he explained, his eyes still remote. ‘A very old, very powerful family of our kind. They are the closest thing our world has to a royal family, I suppose. Chiaz lived with them briefly in his early years, in Italy, before he settled in America-do you remember the story?’ ‘Of course, I remember.

Kate Chambers, amateur sleuth in "Ground Truth: A Pittsburgh Murder Mystery," was reminded of her mother's early death when reading Romeo and Juliet by Shakespeare. "DEATH LIES UPON HER LIKE AN EARLY FROST UPON THE SWEETEST FLOWER OF ALL THE FIELDS.

Few crimes were considered more scurrilous than suicide, as in Sonnet 66 (“ Tired with all these, for restful death I cry”), as in: Cassius, Brutus, Portia, Romeo, Juliet, Othello, Ophelia, Lady Macbeth, Mark Antony, Cleopatra, Charmian, Goneril, and Eros. During Shakespeare’s life, suicide was considered an act of murder against God, Nature, and King, a trinity of stigmas so severe that even a nobleman who offed himself would have his assets seized. Only one man in England had a samurai approach to the art of self-destruction, and that was Shakespeare himself, who seemed to admire it under certain circumstances.

Tybalt is dead, and Romeo — banished." That "banished," that one word "banished," Hath slain ten thousand Tybalts. Tybalt's death Was woe enough, if it had ended there; Or, if sour woe delights in fellowship And needly will be ranked with other griefs, Why followed not, when she said "Tybalt's dead," Thy father, or thy father, nay, or both, Which modern lamentation might have moved? But with a rearward following Tybalt's death, "Romeo is banished" — to speak that word Is father, mother, Tybalt, Romeo, Juliet, All slain, all dead. "Romeo is banished" — There is no end, no limit, measure, bound, In that word's death; no words can that woe sound.

Tybalt is dead, and Romeo — banished." That "banished," that one word "banished," Hath slain ten thousand Tybalts. Tybalt's death Was woe enough, if it had ended there; Or, if sour woe delights in fellowship And needly will be ranked with other griefs, Why followed not, when she said "Tybalt's dead," Thy father, or thy mother, nay, or both, Which modern lamentation might have moved? But with a rearward following Tybalt's death, "Romeo is banished" — to speak that word Is father, mother, Tybalt, Romeo, Juliet, All slain, all dead. "Romeo is banished" — There is no end, no limit, measure, bound, In that word's death; no words can that woe sound.