Romeo and Juliet Metaphors and Similes PDF

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Romeo and Juliet by William Shakespeare Metaphors, Similes and Allusions throughout the play with an analysis for better understanding...

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Romeo and Juliet Metaphors, Similes and Allusions

Love is a smoke made with the fume of sighs (1.1.181) Early in the play, as he moans about his unrequited love for Rosaline, Romeo uses a simile to compare love to a smoke that arises from the sighs of lovers, perhaps suggesting that it is simultaneously beautiful, potentially suffocating, and difficult to hold onto.

A man, young lady—lady, such a man As all the world—why, he’s a man of wax. (1.3.77–78) In this metaphor, the Nurse tries to convince Juliet that Paris is a perfect specimen of a man, comparing him to a wax sculpture. Is love a tender thing? It is too rough, Too rude, too boisterous, and it pricks like thorn. (1.4.25–26) Out of favour with Rosaline at the beginning of the play, Romeo rejects the idea that love is tender, comparing it in this simile to a sharp thorn piercing the skin. I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy. (1.4.97–99) In this metaphor, Mercutio suggests that dreams are born from a lazy mind in the same way that children are born from their parents. It seems she hangs upon the cheek of night As a rich jewel in an Ethiope’s ear (1.5.43–44) In this simile, Romeo compares Juliet’s radiant beauty against the backdrop of night to an earring sparkling against the dark skin of an Ethiopian person. But soft, what light through yonder window breaks? It is the east, and Juliet is the sun. (2.2.2–3) In this metaphor, Juliet’s appearance at her balcony window prompts the lovestruck Romeo to compare her radiant beauty to that of the rising sun.

I have no joy of this contract tonight. It is too rash, too unadvised, too sudden, Too like the lightning, which doth cease to be Ere one can say “It lightens.” (2.2.117–120) Juliet reacts sceptically to Romeo’s first profession of love, comparing its suddenness in this simile to that of lightning, which flashes quickly and then disappears without warning. These violent delights have violent ends And in their triumph die, like fire and powder, Which, as they kiss, consume. (2.6.9–11) In this simile, Friar Lawrence advises Romeo to temper his extreme passion for Juliet, warning that their hasty marriage could turn out like a “kiss” between fire and gunpowder, causing a short-lived but violent explosion that consumes them both. Death lies on her like an untimely frost Upon the sweetest flower of all the field. (4.5.29–30) Here Lord Capulet uses a simile to compare young Juliet’s apparent death to that of a beautiful flower killed by an early winter frost. O happy dagger, This is thy sheath. There rust and let me die. (5.3.183–184) Just before stabbing herself with Romeo’s dagger, Juliet uses a metaphor to compare her body to the dagger’s case, suggesting that she intends for the dagger to stay there permanently. Allusions Act 1, scene 1

But all so soon as the all-cheering sun Should in the farthest east begin to draw The shady curtain from Aurora’s bed[.] (1.1.124–126) -

This is an allusion to Aurora, the Roman goddess of the dawn.

Well, in that hit you miss. She’ll not be hit With Cupid’s arrow. She hath Dian’s wit. (1.1.199–200) -

This quote contains two allusions: Cupid is the Roman god of desire and erotic love, and Dian (also called Diana) is the Roman goddess of virginity and hunting.

Act 1, scene 4

We’ll have no Cupid hoodwinked with a scarf[.] (1.4.4) You are a lover. Borrow Cupid’s wings[.] (1.4.17) -

These are allusions to Cupid, the Roman god of desire and erotic love.

Oh, then, I see Queen Mab hath been with you. (1.4.53) -

This is an allusion to Queen Mab, the queen of the fairies in English folklore.

Act 2, scene 1

Speak to my gossip Venus one fair word[.] (2.1.11) -

This is an allusion to Venus, the Roman goddess of love.

Young Abraham Cupid, he that shot so true[.] (2.1.13) -

This quote contains two allusions: Abraham, in the Judeo-Christian bible, lived to be a very old man, and Cupid, the Roman god of desire and erotic love, was portrayed as a boy despite being one of the oldest gods.

When King Cophetua loved the beggar maid. (2.1.14) -

This is an allusion to a legend about an African king, King Cophetua, who falls in love with a beggar woman.

Act 2, scene 2

At lovers’ perjuries, They say, Jove laughs. (2.2.92–93) -

This is an allusion to Jove, also called Jupiter, the king of the Roman gods.

Else would I tear the cave where Echo lies[.] (2.2.164) -

This is an allusion to Echo, a mountain nymph in Greek mythology, who was cursed to only be able to repeat others’ words.

Act 2, scene 3

From forth a day’s path and Titan’s fiery wheels. (2.3.4) -

This is an allusion to one of the Titans, a superhuman race in Greek mythology who ruled the world before the Olympian gods.

Act 2, scene 4

Alas, poor Romeo! He is already dead, stabbed with a white wench’s black eye, shot through the ears with a love song, the very pin of his heart cleft with the blind bow-boy’s butt shaft. (2.4.13–16) -

The phrase “blind bow-boy” is an allusion to Cupid, the Roman god of desire and erotic love.

More than Prince of Cats. (2.4.18) -

The term “Prince of Cats” is an allusion to a character in a medieval fable who was also named Tybalt.

Now he is for the numbers that Petrarch flowed in. Laura to his lady was but a kitchenwench—marry, she had a better love to berhyme her—Dido a dowdy, Cleopatra a gypsy, Helen and Hero hildings and harlots, Thisbe a grey or so, but not to the purpose. (2.4.35–39) -

This quote contains several allusions. Petrarch was an Italian Renaissance poet.

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The six women named—Laura, Dido, Cleopatra, Helen, Hero, and Thisbe—were historical or mythological women who were the subjects of Shakespeare’s or others’ love poetry.

Act 2, scene 5

And therefore, hath the wind-swift Cupid wings. (2.5.8)

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This is an allusion to Cupid, the Roman god of desire and erotic love.

Act 3, scene 1

Good King of Cats, nothing but one of your nine lives[.] (3.1.48) -

The term “King of Cats” is an allusion to a character in a medieval fable who was also named Tybalt.

Act 3, scene 2

Gallop apace, you fiery-footed steeds, Toward Phoebus’ lodging. (3.2.1–2) -

This is an allusion to Phoebus, also called Apollo, the Greek god of the sun.

Such a wagoner As Phaeton would whip you to the west And bring in cloudy night immediately. (3.2.2–4) -

This is an allusion to Phaeton, the son of the Greek Titan sun god.

Act 3, scene 5

’Tis but the pale reflex of Cynthia’s brow. (3.5.20) -

This is an allusion to Cynthia, the name given to the moon goddess in Shakespeare’s time.

Some say the lark and loathèd toad change eyes. (3.5.31) -

This is an allusion to a folktale that claims the lark got its ugly eyes from the toad, who took the lark’s pretty eyes.

Act 4, scene 5

For Venus smiles not in a house of tears. (4.5.8) -

This is an allusion to Venus, the Roman goddess of love....