Verona Quotes

They do not love that do not show their love.

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.

Banish'd from [those we love] Is self from self: a deadly banishment!

Claire: Dear Claire, "What" and "If" are two words as non-threatening as words can be. But put them together side-by-side and they have the power to haunt you for the rest of your life: What if? What if? What if? I don't know how your story ended but if what you felt then was true love, then it's never too late. If it was true then, why wouldn't it be true now? You need only the courage to follow your heart. I don't know what a love like Juliet's feels like - love to leave loved ones for, love to cross oceans for but I'd like to believe if I ever were to feel it, that I will have the courage to seize it. And, Claire, if you didn't, I hope one day that you will. All my love, Juliet

Life is the messy bits.

That man that hath a tongue, I say is no man, if with his tongue he cannot win a woman.

On those nights, the words were for me alone. They came up unbidden from my heart. They spilled over my tongue and spilled out my mouth. And because of them, I, who was nothing and nobody, was a prince of Denmark, a maid of Verona, a queen of Egypt. I was a sour misanthrope, a beetling hypocrite, a conjurer's daughter, a mad and murderous king.

There were nights when I got nothing, [but] I still played. With no one to hear me and no one to pay me, and it did not matter. On those nights, the words were for me alone. They came up unbidden from my heart. They slipped over my tongue and spilled from my mouth. And because of them I, who was nothing and nobody, was a prince of Denmark, a maid of Verona, a queen of Egypt. I was a sour misanthrope, a beetling hypocrite, a conjurer's daughter, a mad and murderous king. It was dark and it was cold on those nights. The world was harsh and I was hungry. Yet I had such joy from the words. Such joy. There were times when I lifted my face to the sky, stretched my arms wide to the winter night, and laughed out loud, so happy was I. The memory of it makes me laugh now, but not from happiness. Be careful what you show the world. You never know when the wolf is watching.

She dreams of him that has forgot her love; You dote on her that cares not for your love. 'Tis pity love should be so contrary; And thinking of it makes me cry 'alas!

O, how this spring of love resembleth The uncertain glory of an April day, Which now shows all the beauty of the sun, And by and by a cloud takes all away!

At first I did adore a twinkling star But now I worship a celestial sun

You, minion, are too saucy.

This is our siblings of more famous BookWorld Personalities self-help group expalined Loser (Gatsby). That's Sharon Eyre, the younger and wholly disreputable sister of Jane; Roger Yossarian, the draft dodger and coward; Rupert Bond, still a virgin and can't keep a secret; Tracy Capulet, who has slept her way round Verona twice; and Nancy Potter, who is a Muggle.

Beshrew me, but you have a quick wit. SPEED: And yet it cannot overtake your slow purse.

To die, is to be banish'd from myself; And Silvia is myself: banish'd from her, Is self from self: a deadly banishment! What light is light, if Silvia be not seen? What joy is joy, if Silvia be not by? Unless it be to think that she is by, And feed upon the shadow of perfection. Except I be by Silvia in the night, There is no music in the nightingale; Unless I look on Silvia in the day, There is no day for me to look upon; She is my essence, and I leave to be, If I be not by her fair influence Foster'd, illumin'd, cherish'd, kept alive.

Ay, but hearken, sir; though the chameleon Love can feed on the air, I am one that am nourished by my victuals, and would fain have meat.

Laura, illustrious through her own virtues, and long famed through my verses, first appeared to my eyes in my youth, in the year of our Lord 1327, on the sixth day of April, in the church of St. Clare in Avignon, at matins; and in the same city, also on the sixth day of April, at the same first hour, but in the year 1348, the light of her life was withdrawn from the light of day, while I, as it chanced, was in Verona, unaware of my fate...

Hope is a lover's staff; walk hence with that And manage it against despairing thoughts.

A man is never undone till he be hang'd.

Lord Rameses of Egypt sighed Because a summer evening passed; And little Ariadne cried That summer fancy fell at last To dust; and young Verona died When beauty's hour was overcast. Theirs was the bitterness we know Because the clouds of hawthorn keep So short a state, and kisses go To tombs unfathomably deep, While Rameses and Romeo And little Ariadne sleep.

Dear Claire, "What" and "If" are two words as non-threatening as words can be. But put them together side-by-side and they have the power to haunt you for the rest of your life: What if? What if? What if? I don't know how your story ended but if what you felt then was true love, then it's never too late. If it was true then, why wouldn't it be true now? You need only the courage to follow your heart. I don't know what a love like Juliet's feels like: love to leave loved ones for, love to cross oceans for, but I'd like to believe if I ever were to feel it, that I'd have the courage to seize it. And Claire, if you didn't, I hope one day that you will. All my love, Juliet

If you love her, you cannot see her.

One of the great joys in life is having ones hair brushed.

What, gone without a word? Ay, so true love should do. It cannot speak, For truth hath better deeds than words to grace it." (2.2.17-19)

O jest unseen, inscrutable, invisible, As a nose on a man's face, or a weathercock on a steeple! My master sues to her, and she hath taught her suitor, He being her pupil, to become her tutor. O excellent device! was there ever heard a better, That my master, being scribe, to himself should write the letter? Valentine. How now, sir? what are you reasoning with yourself? Speed. Nay, I was rhyming: 'tis you that have the reason.

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.

At this same ancient feast of Capulet's Sups the fair Rosaline whom thou so lov'st, With all the admired beauties of Verona. Go thither, and with unattainted eye, Compare her face with some that I shall show, And I will make thee think thy swan a crow.

Wilt thou reach stars because they shine on thee?

Thou art a votary to fond desire

Didst thou but know the inly touch of love Thou wouldst as soon go kindle fire with snow As seek to quench the fire of love with words. (2.7.18-20)

I left her in the forest of Arden; I shall find her in an orchard in Verona.

I know it well, sir; you have an exchequer of words, and, I think, no other treasure to give your followers; for it appears by their bare liveries that they live by your bare words.

I picked up an old microscope at a flea market in Verona. In the long evenings, in my imitation of life science, I set up in the courtyard and examined local specimens. Pointless pleasure, stripped of ends. The ancient contadino from across the road, long since convinced that we were mad, could not resist coming over for a look. I showed him where to put his eye. I watched him, thinking, this is how we attach to existence. We look through awareness’s tube and see the swarm at the end of the scope, taking what we come upon there for the full field of sight itself. The old man lifted his eye from the microscope lens, crying. Signore, ho ottantotto anni e non ho mai Saputo prima che cosa ci fosse in una goccia d’acqua. I’m eighty-eight years old and I never knew what was in a droplet of water.

The desire to lift, the willingness to help, and the graciousness to give come from a heart filled with love. The poet wrote, ‘Love is the most noble attribute of the human soul.’ And William Shakespeare cautioned, ‘They do not love who do not show their love’ (Two Gentlemen of Verona, act 1, sc. 2, line 31).

Chapter III ——These are the Villains Whom all the Travellers do fear so much. ———Some of them are Gentlemen, Such as the fury of ungoverned Youth Thrust from the company of awful Men.* Two Gentlemen of Verona.

Escalus, Prince of Verona. Paris, a young Nobleman, kinsman to the Prince. Montague,}Heads of two Houses at variance with each other. Capulet, } An Old Man, Uncle to Capulet. Romeo, Son to Montague. Mercutio, Kinsman to the Prince, and Friend to Romeo. Benvolio, Nephew to Montague, and Friend to Romeo. Tybalt, Nephew to Lady Capulet.

Why, stand-under and under-stand is all one.

Come, shadow, come, and take this shadow up, For 'tis thy rival.

Love is your master, for he masters you; And he that is so yoked by a fool, Methinks, should not be chronicled for wise.

Maybe she's beautiful and nice and talented. That should be illegal. It's not fair to the rest of us drudges.

She was named Juliet, after his wife, the bishop thought, but that was not what Julia meant at all. She was far too modest to think of calling her child after herself. Juliet, for her, was the name of that young girl of Verona whose tragic love has everywhere helped make youth and sorrow better friends.

I was really in Italy. Not Maya Angelou, the person of pretensions and ambitions, but me, Marguerite Johnson, who had read about Verona and the sad lovers while growing up in a dusty Southern village poorer and more tragic than the historic town in which I now stood. I was so excited at the incredible turn of events which had brought me from a past of rejection, of slammed doors and blind alleys, of dead-end streets and culs-de-sac, into the bright sun of Italy, into a town made famous by one of the world’s greatest writers. I

No more; unless the next word that thou speak'st Have some malignant power upon my life: If so, I pray thee breathe it in mine ear, As ending anthem of my endless dolour.

Experience is by industry achiev'd, And perfected by the swift course of time.

O time most accurst! 'Mongst all foes that a friend should be the worst!

I see things too, although you judge I wink.

Hep şunu düşünürüm: Bir adam asılmadıkça sıfırı tüketmiş sayılmaz, ne de birkaç kadeh atılmadan ve meyhaneci kadın hoş geldiniz demezse hoş gelinmiş sayılmaz.

A new year for new sins.

if the river were dry, I am able to fill it with my tears; if the wind were down, I could drive the boat with my sighs.

Poi si rivolse, e parve di coloro che corrono a Verona il drappo verde per la campagna; e parve di costoro quelli che vince, non colui che perde.

For I will raise her statue in pure gold; That while Verona by that name is known, There shall no figure at such rate be set As that of true and faithful Juliet

Il paese di Verulengo si estende come un serpente in provincia di Verona, lungo la strada provinciale 9a." Incipit.

Now no discourse, except it be of Love; Now I can break my fast, dine, sup and sleep Upon the very naked name of Love.

I know Verona as I do my own body.

¡Cómo! ¿Se va sin decir palabra? Sí, así debe hacerlo el amor verdadero. No puede hablar.

Si la ama no podrá verla. ―¿Por qué? ―Porque el amor es ciego.

If the wounds on her heart and the bruises on her soul were translated on her skin, you wouldn’t recognize her at all.” —Verona Q   Maybe

Ay, ay; and she hath offer'd to the doom-- Which, unreversed, stands in effectual force-- A sea of melting pearl, which some call tears

Nay, 'twill be this hour ere I have done weeping. All the kind of the Launces have this very fault. I have received my proportion, like the prodigious son, and am going with Sir Proteus to the Imperial's court. I think Crab, my dog, be the sourest-natured dog that lives. My mother weeping, my father wailing, my sister crying, our maid howling, our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur shed one tear. He is a stone, a very pebble stone, and has no more pity in him than a dog. A Jew would have wept to have seen our parting. Why, my grandam, having no eyes, look you, wept herself blind at my parting. Nay, I'll show you the manner of it. This shoe is my father. No, this left shoe is my father. No, no, this left shoe is my mother. Nay, that cannot be so neither. Yes, it is so, it is so -- it hath the worser sole. This shoe with the hole in it is my mother, and this my father. A vengeance on't! There 'tis. Now, sir, this staff is my sister, for, look you, she is as white as a lily and as small as a wand. This hat is Nan, our maid. I am the dog. No, the dog is himself, and I am the dog -- O, the dog is me, and I am myself. Ay, so, so. Now come I to my father: 'Father, your blessing.' Now should not the shoe speak a word for weeping. Now should I kiss my father -- well, he weeps on. Now come I to my mother. O, that she could speak now like a wood woman! Well, I kiss her -- why, there 'tis: here's my mother's breath up and down. Now come I to my sister; mark the moan she makes. Now the dog all this while sheds not a tear nor speaks a word!

They were different colors: the right one blue, the left green. And her face in the light of the candle on the table startled me at first, just as it had in the icy night air. After seeing it on the street, I was afraid I had only imagined it: a still, luminous face with a silvery sheen. Finely hewn, with a long, straight nose and a wide mouth, it was nearly identical to another face, which I had photographed years before. Not on a person, bu on the fragment of a frieze I found in some ruins near Verona, The frieze, which depicted a band of musicians, had once been shadowed beneath a cornice high on the temple of Mercury, god of magic. Belonging to one of the musicians, it was a riveting face - like a puzzle that could not be solved - which I had never found, or expected to find, on a living woman.

You and I might have the same last name, but we don't have the same parents. They aren't there for me the way they are for you. And when he dangled a chance to come home--" "That's not home, Ridley. It's just a house we used to live in.

They were only to glad to come, ... as an alibi to test their charms ... ... but once they'd made it into the house their hearts where in their boots because they knew enough to see that here Madame Verona was still living off the interest.

The pilgrimage of Italy, which I now accomplished, had long been the object of my curious devotion. The passage of Mount Cenis, the regular streets of Turin, the Gothic cathedral of Milan, the scenery of the Boromean Islands, the marble palaces of Genoa, the beauties of Florence, the wonders of Rome, the curiosities of Naples, the galleries of Bologna, the singular aspect of Venice, the amphitheatre of Verona, and the Palladian architecture of Vicenza, are still present to my imagination. I read the Tuscan writers on the banks of the Arno; but my conversation was with the dead rather than the living, and the whole college of Cardinals was of less value in my eyes than the transfiguration of Raphael, the Apollo of the Vatican, or the massy greatness of the Coliseum. It was at Rome, on the fifteenth of October, 1764, as I sat musing amidst the ruins of the Capitol, while the barefooted fryars were singing Vespers in the temple of Jupiter, that the idea of writing the decline and fall of the City first started to my mind. After Rome has kindled and satisfied the enthusiasm of the Classic pilgrim, his curiosity for all meaner objects insensibly subsides.

All I'd wanted was a normal life. Then I'd met Nicco, and it was like being in a fairytale. My very own prince to chase away the monsters and protect my heart. But it was all a lie. The truth was much worse. The truth was my life had just become a living nightmare. One I didn't know how I would survive.

No, we never did go back anywhere. Not to Heidelberg, not to Hamelin, not to Verona, not to Mont Majour - not so much as to Carcassonne itself. We talked of it, of course, but I guess Florence got all she wanted out of one look at a place. She had the seeing eye. I haven't, unfortunately, so that the world is full of places to which I want to return - towns with the blinding white sun upon them; stone pines against the blue of the sky; corners of gables, all carved and painted with stags and scarlet flowers and crow-stepped gables with the little saint at the top; and grey and pink palazzi and walled towns a mile or so back from the sea, on the Mediterranean, between Leghorn and Naples.

If desire were really one to one, self to self, there would never be a problem of infidelity, but desire will always, without confusion, demand a particular class, Caring for a unique object is an illusion, but the feeling must be unique, and though that feeling may not be natural, it is duty. You must love your neighbour like yourself, uniquely. From the personal point of view, sexual desire, because of its impersonal and unchanging character, is a comic contradiction. The relation between every pair of lovers is unique, but in bet they can only do what all mammals do. All the relation in friendship a relationship of spirit, can be unique. In sexual relationship love the only uniqueness can be fidelity.

I have no other but a woman's reason: I think him so, because I think him so.

For what I will, I will, and there an end.

And yet you will; and yet another 'yet'.

Don't be afraid of the dark, it's a place where you can hide.

Mongst all foes that a friend should be the worst

Las doncellas por pudor dicen "no" a aquello que anhelan se interprete por "sí".

Yo soy el perro. No, el perro es él mismo y yo soy el perro. ¡Caray, el perro soy yo, y yo soy yo mismo!

¿Dónde perdería la lengua? ―En la marea de tu cuento.

El amor es tu amo, pues te domina, y quien permite que un loco lo subyugue no merece, creo yo, que se le acepte por cuerdo.

La experiencia se logra con trabajo, y el raudo fluir del tiempo la perfecciona.

La sinceridad se expresa mejor en actos que en palabras.

Si usted gasta palabra por palabra conmigo, enviaré su ingenio a la quiebra.

El deber cumplido halla siempre recompensa.

Es joven por su edad, pero en experiencia viejo.

Si el hombre que tiene lengua no es capaz de conquistar con ella a una mujer, no es hombre.

¿Y por qué no la muerte, antes que vivir atormentado?

La esperanza es el bastón del amante.

Fire that's closest kept burns most of all.

Thus have I shunned the fire for fear of burning, and drenched me in the sea, where I am drowned.

If you love her, you cannot see her […] Because love is blind.

Is she kind as she is fair? For beauty lives with kindness. Love doth to her eyes repair To help him of his blindness,

What light is light, if Silvia be not seen? What joy is joy, if Silvia be not by?

What's the unkindest tide?

Sunrises reassured me the world would go on, even though mine had gone up in flames.

I don't know where this is going. Maybe nowhere. Maybe somewhere. Life is an unpredictable and strange thing like that, but. But. It's also kind of amazing. And I'm so glad I'm here.

I clutched the handle of the door. Squeezed it. Settled my other hand along the doorway and prayed. Not for anything in particular. Just for the sake of doing it. To see if it would change things. To see if it would change me.

It wasn't so much the reading she loved, as the act of reading, sitting there in his clothes, as if sitting in him, and knowing that another day had become part of the past and she was enjoying, with him, the little time that people can spend in supreme uselessness.

Thank you," he said. "I'm glad you enjoyed it. If there is anyone here this afternoon whom I have convinced that books are meant to be enjoyed, that English is nothing to do with duty, that it has nothing to do with school - with exercises and homework and ticks and crosses - then I am a happy man." He turned away but then he turned back again and he suddenly simply shouted, he bellowed "To hell with school," he cried. "To hell with school. English is what matters. ENGLISH IS LIFE." The Head grabbed him and led him off to her sitting-room for tea, not looking too thrilled, and we were let out and I went flying home.

Do you still think like that? The exit-strategy thing,” she asks. “Sort of, I guess? It’s different now; it’s not urgent like it used to be. It’s more like a habit, if that makes sense?” I glance at her face. “You know how some people go to movie theaters and have to find all the emergency exits, or they go out to eat and have to face the door no matter what, and half the time they don’t even realize they’re doing it?” She nods, but kind of slowly, hesitant. “That’s how it is, just like a glitch in the comfort matrix or something. Something my brain tosses out there, and I’m like, ‘Cool, thanks for the suggestion, but maybe we could just play a video game instead.’ It’s just crossed lines. It’s fine.

My skin feels too tight, like I might rupture. My mother must have read the end, the cards Enola keeps reading, the same thing Verona Bonn read, all the way back to Ryzhkova. They passed the cards to each other creating history, fingers touching paper, imbuing it with hope and fears, fear like a curse. Of course they wouldn’t clear their cards, they were talking to their mothers, and isn’t that part of why I’ve stayed here? The book noted a falling out between Ryzhkova and her apprentice, a falling out over the mermaid. Enola said that cards build history—what a perfect way to wound someone. The cards were hers, Ryzhkova’s, then Amos and Evangeline’s on down the line, each leaving themselves in the ink, each pulling from the deck, pulling in fears that work like poison. The wind blows a sheet of paper across a split board. The only paper of consequence was never in my possession—it was in Enola’s.

Whoreson dog,” “whoreson peasant,” “slave,” “you cur,” “rogue,” “rascal,” “dunghill,” “crack-hemp,” and “notorious villain” — these are a few of the epithets with which the plays abound. The Duke of York accosts Thomas Horner, an armorer, as “base dunghill villain and mechanical” (Henry VI., Part 2, Act 2, Sc. 3); Gloucester speaks of the warders of the Tower as “dunghill grooms” (Ib., Part 1, Act 1, Sc. 3), and Hamlet of the grave-digger as an “ass” and “rude knave.” Valentine tells his servant, Speed, that he is born to be hanged (Two Gentlemen of Verona, Act 1, Sc. 1), and Gonzalo pays a like compliment to the boatswain who is doing his best to save the ship in the “Tempest” (Act 1, Sc. 1). This boatswain is not sufficiently impressed by the grandeur of his noble cargo, and for his pains is called a “brawling, blasphemous, uncharitable dog,” a “cur,” a “whoreson, insolent noise-maker,” and a “wide-chapped rascal.

The conflict between horse and snake or bull and snake represents a conflict within the libido itself, a striving forwards and backwards at one and the same time.86 It is as if the libido were not only a ceaseless forward movement, an unending will for life, evolution, creation, such as Schopenhauer envisaged in his cosmic Will, where death is a mishap or fatality coming from outside; like the sun, the libido also wills its own descent, its own involution. During the first half of life it strives for growth; during the second half, softly at first and then ever more perceptibly, it points towards an altered goal. And just as in youth the urge for limitless expansion often lies hidden under veiling layers of resistance to life, so that “other urge” often hides behind an obstinate and purposeless cleaving to life in its old form. This apparent contradiction in the nature of the libido is illustrated by a statue of Priapus in the archaeological museum at Verona: Priapus, with a sidelong smile, points with his finger to a snake biting his phallus (pl. LXIb).

To the ordinary cultivated student of civilization the genesis of a Church is of little interest, and at all events we must not confound the history of a Church with its spiritual meaning. To the ordinary observer the English Church in history means Hooker and Jeremy Taylor — and should mean Andrewes also: it means George Herbert, and it means the churches of Christopher Wren. This is not an error: a Church is to be judged by its intellectual fruits, by its influence on the sensibility of the most sensitive and on the intellect of the most intelligent, and it must be made real to the eye by monuments of artistic merit. The English Church has no literary monument equal to that of Dante, no intellectual monument equal to that of St. Thomas, no devotional monument equal to that of St. John of the Cross, no building so beautiful as the Cathedral of Modena or the basilica of St. Zeno in Verona. But there are those for whom the City churches are as precious as any of the four hundred odd churches in Rome which are in no danger of demolition, and for whom St. Paul's, in comparison with St. Peter's, is not lacking in decency; and the English devotional verse of the seventeenth century — admitting the one difficult case of conversion, that of Crashaw — finer than that of any other country or religion at the time.

And why not death rather than living torment? And Silvia is myself; banish'd from her Is self from self, a deadly banishment. What light is light, if Silvia be not seen? What joy is joy, if Silvia be not by? Unless it be to think that she is by, And feed upon the shadow of perfection. Except I be by Silvia in the night, There is no music in the nightingale; Unless I look on Silvia in the day, There is no day for me to look upon. She is my essence, and I leave to be If I be not by her fair influence Foster'd, illumin'd, cherish'd, kept alive. I fly not death, to fly his deadly doom: Tarry I here, I but attend on death; But fly I hence, I fly away from life.