Romeo and Juliet Appearance vs Reality Quotes

LADY CAPULET: Speak briefly, can you like of Paris’ love?
JULIET: I’ll look to like, if looking liking move:
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.

– William Shakespeare

Romeo and Juliet, Act 1, Scene 3. Juliet quibbles and refuses a straight answer when Lady Capulet asks if she can love Paris. Juliet’s mother wants her to agree to her father’s plan for her to marry the young nobleman. But in Juliet’s clever noncommittal response, she agrees to look at Paris with the intention of liking him, if looking can cause her to like him. She uses a Cupid-like metaphor to say that her eye won’t fly flirtatious darts of love at Paris beyond what her mother consents. She puts on the appearance of obeying her parents, but at the same time she is keeping her options open and in effect disobeying them.

She gallops night by night
Through lovers’ brains, and then they dream of love;
O’er courtiers’ knees, that dream on court’sies straight,
O’er lawyers’ fingers, who straight dream on fees,
O’er ladies’ lips, who straight on kisses dream.

– William Shakespeare

Romeo and Juliet, Act 1, Scene 4. Mercutio describes how Queen Mab nightly brings dreams to sleepers in answer to their deepest desires. She brings love to lovers, curtsies to courtiers, fees to lawyers, and kisses to the ladies. But everything is fantasy and illusion, according to Mercutio.

True, I talk of dreams,
Which are the children of an idle brain,
Begot of nothing but vain fantasy,
Which is as thin of substance as the air
And more inconstant than the wind, who wooes
Even now the frozen bosom of the north,
And, being anger’d, puffs away from thence,
Turning his face to the dew-dropping south.

– William Shakespeare

Romeo and Juliet, Act 1, Scene 4. The cynical Mercutio, on the way to the Capulet party with his dreamer friend Romeo, dismisses dreams as meaningless. In a metaphor, he tells Romeo that they are born like children from a lazy mind. He uses simile to say that they are an empty fantasy, which lacks substance like the air and is changeable like the wind. The wind is personified as being able to woo and get angry, while it also has a face.

What’s in a name? That which we call a rose
By any other name would smell as sweet.

– William Shakespeare

Romeo and Juliet, Act 2, Scene 2. In one of Shakespeare’s most frequently quoted passages, Juliet uses flower imagery to illustrate how absurd it is that two people in love are unable to be together because of their family names. Using the metaphor of a rose for Romeo, she says that if a rose was called another name it would still have the same sweet smell. She is suggesting that no matter what Romeo’s family name is she loves him for who he is. Before these words Juliet says: "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!" Juliet is saying that while Romeo may be Montague, his physical body and identity are his own. Her reference to a man’s body parts indicates that she is thinking of Romeo in a sexual way. We also see the theme of appearance vs reality in this passage.

I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say "It lightens."

– William Shakespeare

Romeo and Juliet, Act 2, Scene 2. Juliet appears skeptical to Romeo’s first declaration of love for her in the balcony scene. In a simile she compares its rashness and suddenness to lightning, which flashes one moment and disappears the next. This image paints love as something unpredictable and even dangerous. Foreshadowed here is the play’s tragic ending for the two lovers. In this fledgling relationship Juliet appears to be the more cautious and mature one. She asserts her free will in this passage, wanting Romeo to slow down and not rush things. Romeo on the other hand wants to dive right in. Moments later he tells Juliet that he cannot be satisfied without an "exchange of thy love’s faithful vow for mine." Juliet’s words and her wanting to take a step back because everything is happening too fast also highlights the theme of appearance vs reality.

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

– William Shakespeare

Romeo and Juliet, Act 2, Scene 3. As Friar Laurence tends to his medicinal herbs, he speaks of the competing powers of good and evil contained within the tiny flowers. They can be used to produce poison or medicine. The plants are a metaphor for human nature. The passage is foreshadowing of the wrong decisions that the lovers Romeo and Juliet make leading to their deaths. This is the poison the friar speaks about. The passage also highlights the theme of appearance vs reality, a flower may appear pretty but if you eat it it can poison you.

Ah, well-a-day! he’s dead, he’s dead, he’s dead!
We are undone, lady, we are undone!
Alack the day! he’s gone, he’s kill’d, he’s dead!

– William Shakespeare

Romeo and Juliet, Act 3, Scene 2. When the Nurse arrives in Capulet’s orchard where Juliet is waiting for Romeo, she is in a distressed state and delivers the shocking news: "he’s dead." She is lamenting Tybalt’s killing by Romeo, but she doesn’t mention him by name. This leads Juliet to think that it is Romeo who is dead. The audience knows that Romeo is very much alive, so making this an example of dramatic irony.

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!

– William Shakespeare

Romeo and Juliet, Act 3, Scene 2. A confused Juliet’s heart turns against Romeo after hearing from the Nurse that he has been banished for killing Tybalt – "Tybalt is gone, and Romeo banished; Romeo that kill’d him, he is banished." In a metaphor, Juliet laments that Romeo’s beautiful "flowering face" could conceal such a "serpent heart." She follows up with more vivid metaphors and oxymorons, to express her shock that Romeo could appear so saintly and yet be such a villain. She uses wonderful imagery depicting the contradictory nature of human behavior, how a beautiful appearance can conceal the monster inside.

Was ever book containing such vile matter
So fairly bound? O, that deceit should dwell
In such a gorgeous palace!

– William Shakespeare

Romeo and Juliet, Act 3, Scene 2. Metaphorically comparing Romeo to a "fairly bound" book and "gorgeous palace," Juliet laments that behind such a facade dwells "vile matter" and "deceit." After learning that Romeo killed her cousin Tybalt, Juliet is frustrated that Romeo can be so appealing on the outside, yet bad underneath. Deceit is personified in this passage.

Indeed, I never shall be satisfied
With Romeo, till I behold him – dead –
Is my poor heart for a kinsman vex’d.

– William Shakespeare

Romeo and Juliet, Act 3, Scene 5. Juliet uses verbal irony here in speaking to Lady Capulet. Not wishing to lie to her mother, she appears to be saying that she wants to see Romeo dead. But if you examine the punctuation, what she is actually saying is that she will never be satisfied until she sees Romeo again, and her heart is dead over Tybalt’s death.

Well, well, thou hast a careful father, child;
One who, to put thee from thy heaviness,
Hath sorted out a sudden day of joy,
That thou expect’st not nor I look’d not for.

– William Shakespeare

Romeo and Juliet, Act 3, Scene 5. Lady Capulet tells Juliet that her "careful" father has arranged a "day of joy" that will get her out of her depression. Lady Capulet is being unintentionally ironic and out of touch with reality regarding her daughter’s real feelings. The wedding to Paris planned by her not-so-careful father will bring misery and not "joy" to his daughter. Unknownst to her parents Juliet is already secretly married to Romeo and loves only him.

Marry, my child, early next Thursday morn,
The gallant, young and noble gentleman,
The County Paris, at Saint Peter’s Church,
Shall happily make thee there a joyful bride.

– William Shakespeare

Romeo and Juliet, Act 3, Scene 5. Lady Capulet announces to her daughter Juliet that Lord Capulet has arranged for her to marry Paris on the following Thursday. Her words that Juliet will be a "joyful bride" are ironic, although that is not her intention. The theme of appearance vs reality is also illustrated here. Lady Capulet is not aware that Juliet is already married to Romeo and being Paris’s bride would be anything but joyful for her.

He shall not make me there a joyful bride.
I wonder at this haste; that I must wed
Ere he, that should be husband, comes to woo.
I pray you, tell my lord and father, madam,
I will not marry yet; and, when I do, I swear,
It shall be Romeo, whom you know I hate,
Rather than Paris.

– William Shakespeare

Romeo and Juliet, Act 3, Scene 5. Juliet reveals her love for Romeo in this speech to Lady Capulet. She says that she will not marry Paris and would rather marry Romeo, the man from the hated Montague family who killed her cousin. She is being ironic when she tells her mother that Romeo is the man "whom you know I hate," since she strongly does not hate Romeo and has secretly married him. Juliet’s mother thinks what she is saying is that she so dislikes her parents’ plan for her to marry Paris she would rather marry Romeo. Lady Capulet is not aware that she has actually married him. The double meaning in Juliet’s words emphasizes the theme of appearance vs reality, a theme found throughout the play.

In one little body
Thou counterfeit’st a bark, a sea, a wind;
For still thy eyes, which I may call the sea,
Do ebb and flow with tears; the bark thy body is,
Sailing in this salt flood; the winds, thy sighs;
Who, raging with thy tears, and they with them,
Without a sudden calm, will overset
Thy tempest-tossed body.

– William Shakespeare

Romeo and Juliet, Act 3, Scene 5. When Capulet finds his daughter Juliet weeping he mistakingly thinks that she is mourning Tybalt’s death and appears to be sympathetic. Using an extended and elaborate metaphor, he compares her body to a ship on a storm-tossed sea, her eyes to a sea flowing with tears, and her sighs to the raging winds. What Juliet’s father doesn’t realize is that she is weeping over Romeo being banished from Verona after she secretly married him.

Well, thou hast comforted me marvellous much.
Go in: and tell my lady I am gone,
Having displeased my father, to Laurence’ cell,
To make confession and to be absolved.

– William Shakespeare

Romeo and Juliet, Act 3, Scene 5. Juliet pretends to take the Nurse’s advice to marry Paris, her father’s choice of a husband for her. With irony and hidden sarcasm she tells the Nurse that she has been a great comfort to her. Juliet asks her to inform her mother that she has displeased her father and has gone to Friar Laurence to make confession and seek absolution. This implies that Juliet has agreed to her father’s demand to marry Paris. But Juliet’s message is meant to mislead her parents. In reality she is going to Friar Laurence so that he will marry her and Romeo.

Immoderately she weeps for Tybalt’s death,
And therefore have I little talk’d of love;
For Venus smiles not in a house of tears.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 1. Paris is saying that he is having a hard time courting Juliet, because she is preoccupied with crying over Tybalt’s death. The passage contains an allusion to Venus, the goddess of love who doesn’t smile on a grieving family. Little does Paris know that most of Juliet’s tears are for her banished secret husband Romeo – however, the audience does, making this dramatic irony.

Her father counts it dangerous
That she doth give her sorrow so much sway,
And in his wisdom hastes our marriage,
To stop the inundation of her tears;
Which, too much minded by herself alone,
May be put from her by society.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 1. Paris explains to Friar Laurence why he and Juliet must marry quickly. Her father Lord Capulet sees the marriage as a means of snapping Juliet our of her grief over her cousin Tybalt’s death. This passage is an example of dramatic irony. The audience knows that Juliet’s tears are not for Tybalt, but are the result of her separation from the exiled Romeo whom she has secretly married.

PARIS: Come you to make confession to this father?
JULIET: To answer that, I should confess to you.
PARIS: Do not deny to him that you love me.
JULIET: I will confess to you that I love him.
PARIS: So will ye, I am sure, that you love me.
JULIET: If I do so, it will be of more price,
Being spoke behind your back, than to your face.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 1. While telling no outright lie, Juliet speaks in double meanings and ambiguous language when she encounters Paris in Friar Laurence’s cell. Paris gets no straight answers from Juliet, expecially on the matter of who it is she loves. She is protecting her secret love for and marriage to Romeo. Paris is led to believe by Juliet and Laurence that she is there to receive confession and leaves after the above exchange – "God shield I should disturb devotion." The reality is that Juliet is not visiting the Friar for confession but to enlist his help in getting out of a marriage to Paris.

Take thou this vial, being then in bed,
And this distilled liquor drink thou off;
When presently through all thy veins shall run
A cold and drowsy humour, for no pulse
Shall keep his native progress, but surcease:
No warmth, no breath, shall testify thou livest.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 1. Friar Laurence offers Juliet a way out of her father’s forced marriage to Paris. He gives her a vial of potion, which will put her in a deep sleep and mimic the appearance of death, making her appear dead to others. This is a reckless plan on the part of the Friar, which will lead to a tragic fate for both Juliet and Romeo.

The roses in thy lips and cheeks shall fade
To paly ashes, thy eyes’ windows fall,
Like death, when he shuts up the day of life.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 1. The theme of appearance vs reality and symbol of poison are contained in this speech by Friar Laurence to Juliet. He is explaining the death-like state that will be induced when she drinks the Friar’s potion. Metaphors compare lips to roses, and cheeks to ashes. In a simile falling eyelids are likened to death. Death is also personified when "he shuts up" life.

LORD CAPULET: Sirrah, go hire me twenty cunning cooks…
SECOND SERVANT: Marry, sir, ’tis an ill cook that cannot lick his own fingers: therefore he that cannot lick his fingers goes not with me.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 2. Old Capulet orders his servant to hire twenty cooks for the wedding feast. The servant jokes that they must pass his finger licking test to separate the real cooks from the pretend ones. A good cook, he says, is one who tastes and likes his own food by licking his fingers.

Where I have learn’d me to repent the sin
Of disobedient opposition
To you and your behests, and am enjoin’d
By holy Laurence to fall prostrate here,
And beg your pardon: pardon, I beseech you!
Henceforward I am ever ruled by you.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 2. Juliet repents her disobedience to her father and assures him that she will obey him and marry Paris. But the reality is very different, something the audience is already aware of. Juliet is lying to her father here. We know that she has joined with Friar Laurence in a plan to drink a sleeping potion to fake her death. This is to get out of marrying Paris, which she has absolutely no intention of going through with.

Now, afore God! this reverend holy friar,
Our whole city is much bound to him.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 2. A delighted Lord Capulet says that the city owes Friar Laurence a debt, because he wrongly thinks that he is on board with Juliet’s marriage to Paris. But Capulet is not aware that that the Friar has already married Romeo and Juliet without her parents’ blessing. Laurence has also come up with a plan enable Juliet get out of a forced marriage to Paris. Dramatic irony and the theme of appearance vs reality are found in this passage.

O me, O me! My child, my only life,
Revive, look up, or I will die with thee!
Help, help! Call help…
Alack the day, she’s dead, she’s dead, she’s dead!

– William Shakespeare

Romeo and Juliet, Act 4, Scene 5. Lady Capulet reacts with desperation and shock to Juliet’s death. She pleads with her to come back to life and calls out for help. Her repetition in the last line emphasizes a mother’s shock at losing her only daughter. There is dramatic irony here, because Juliet is sleeping and not dead.

Ha! let me see her: out, alas! she’s cold:
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.

– William Shakespeare

Romeo and Juliet, Act 4, Scene 5. Capulet is in disbelief that Juliet is dead. He uses a simile to compare her death to that of a beautiful flower killed by an early frost. Capulet’s language about his daughter has changed considerably since Act 3, Scene 5, when he angrily labeled her a "disobedient wrench!" Now to Capulet Juliet is metaphorically the most beautiful flower in the field. The passage is an example of dramatic irony since the audience knows that Juliet is not dead, but sleeping.
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