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Read through the most famous quotes by topic #romeo
It’s only sixteen ninety-five," I say with a flutter of my lashes. "You’re serious." I prop my hands on my waist and stick out a hip, striking a pose worthy of a supermodel. "Look at me. Don’t I look serious?" She collapses into the chair outside the dressing room in a fit of giggles so cute they make my insides fizz. "No! You must be stopped," she says. "Why?" I strut down an aisle of yellowed lingerie, swiveling my hips, batting bras with flicks of my fingers. "I will be the king of the disco. I will be—" I spin and strike another pose. "An inspiration." She sniffs and swipes at her eyes. "The real Dylan would die before he’d be seen in public in something like that." "The real Dylan is boring." I brace my hands on the arms of her chair and lean down until our faces are a whisper apart. "And he’s not one fourth the kisser I am." "Is that right?" Her lips quirk. "You know it is." Her smile melts, and her breath comes faster. "Yeah. I do. ↗
To move is to stir, and to be valiant is to stand; therefore, if tou art mov'd, thou runst away. (To be angry is to move, to be brave is to stand still. Therefore, if you're angry, you'll run away.) ↗
Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself. ↗
#art
I began to recall my own experience when I was Mercutio’s age (late teens I decided, a year or two older than Romeo) as a pupil at a public school called Christ’s Hospital. This school is situated in the idyllic countryside of the Sussex Weald, just outside Horsham. I recalled the strange blend of raucousness and intellect amongst the cloisters, the fighting, the sport, and general sense of rebelliousness, of not wishing to seem conventional (this was the sixties); in the sixth form (we were called Grecians) the rarefied atmosphere, the assumption that of course we would go to Oxford or Cambridge; the adoption of an ascetic style, of Zen Buddhism, of baroque opera, the Velvet Underground, Frank Zappa, and Mahler; of Pound, Eliot and e. e. cummings. We perceived the world completely through art and culture. We were very young, very wise, and possessed of a kind of innocent cynicism. We wore yellow stockings, knee breeches, and an ankle length dark blue coat, with silver buttons. We had read Proust, we had read Evelyn Waugh, we knew what was what. There was a sense, fostered by us and by many teachers, that we were already up there with Lamb, Coleridge, and all the other great men who had been educated there. We certainly thought that we soared ‘above a common bound’. I suppose it is a process of constant mythologizing that is attempted at any public school. Tom Brown’s Schooldays is a good example. Girls were objects of both romantic and purely sexual, fantasy; beautiful, distant, mysterious, unobtainable, and, quite simply, not there. The real vessel for emotional exchange, whether sexually expressed or not, were our own intense friendships with each other. The process of my perceptions of Mercutio intermingling with my emotional memory continued intermittently, up to and including rehearsals. I am now aware that that possibly I re-constructed my memory somewhat, mythologised it even, excising what was irrelevant, emphasising what was useful, to accord with how I was beginning to see the part, and what I wanted to express with it. What I was seeing in Mercutio was his grief and pain at impending separation from Romeo, so I suppose I sensitised myself to that period of my life when male bonding was at its strongest for me. ↗
Affliction is enamoured of thy parts, And thou art wedded to calamity. ↗
#friar-lawrence #love #romeo-and-juliet #shakespeare #tragedy
