What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

O, that: “Oh, if only.” Romeo wants to be closer to his beloved.

Ladies' gloves have largely gone out of fashion (though they’re still worn at fancy dress balls), but this tidbit from a 2014 study reveals that glove fantasies have not entirely disappeared from our world:

For example, the Fetishism Arousal subscale included the mean arousal rating to the following items: “touching a material like rubber, PVC, or leather”; “kissing, fondling, and touching someone’s feet”; and “touching an object like shoes, gloves, or plush toys.”

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Via Nobelprize.org

Seamus (SHAY-mus) Heaney is to date the last English-language poet to win the Nobel Prize. (The last poet in any language was Tomas Tranströmer in 2011.) He had gained a sizable international audience even before his win; his literary celebrity earned him the nickname “Famous Seamus” in his native Ireland.

On his death in 2013, the New York Times noted that he “was often called the greatest Irish poet since Yeats,” adding:

A Roman Catholic native of Northern Ireland, Mr. Heaney was renowned for work that powerfully evoked the beauty and blood that together have come to define the modern Irish condition. The author of more than a dozen collections of poetry, as well as critical essays and works for the stage, he repeatedly explored the strife and uncertainties that have afflicted his homeland, while managing simultaneously to steer clear of polemic.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Harold Pinter (1930-2008)

Widely recognized as one of the most distinguished twentieth-century playwrights in English (or any language), Pinter first achieved notoriety with The Birthday Party (1957) and gained commercial success with The Caretaker (1960). His other famous plays include The Homecoming (1964) and Betrayal (1978). He also wrote some notable adapted screenplays, including The French Lieutenant’s Woman (1981).

In his later years he became increasingly politically outspoken. His Nobel lecture, for example, contains a full-throated denunciation of U.S. President George W. Bush and UK Prime Minister Tony Blair:

How many people do you have to kill before you qualify to be described as a mass murderer and a war criminal? One hundred thousand? More than enough, I would have thought. Therefore it is just that Bush and Blair be arraigned before the International Criminal Court of Justice. But Bush has been clever. He has not ratified the International Criminal Court of Justice. Therefore if any American soldier or for that matter politician finds himself in the dock Bush has warned that he will send in the marines. But Tony Blair has ratified the Court and is therefore available for prosecution. We can let the Court have his address if they’re interested. It is Number 10, Downing Street, London.

https://www.youtube.com/watch?v=PH96tuRA3L0

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

unadvised: ill-considered (Riverside Shakespeare).

Initially Romeo and Juliet seem to have the luck of perfect timing. They meet at the ball at just the right moment; Romeo comes to her window just as she’s confessing her love for him.

But already Juliet senses that there is something ominous about their timing, too. Nowadays she would say that “things are moving too fast.” She fears that what has begun quickly will end quickly too–that as Friar Laurence says later, “These violent delights have violent ends.”

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

I have to admit, I would have acted more aloof toward you if you hadn’t overheard me confess my love before I knew you were there.


ere I was ware: before I was aware (that you were listening); while I was off my guard.

At the beginning of their romance, Romeo and Juliet seem to have the luck of perfect timing (though see “too sudden” below). By the end, their timing is tragically awful.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

be perverse…nay: be unreasonable and refuse you.

so thou wilt woo: so that you’ll keep wooing (and I won’t lose my chance with you).

Juliet means that she’ll play hard to get if that’s what Romeo wants, but otherwise, she won’t do it for all the world.

Commenting on Rosalind from As You Like It in 1896, the playwright George Bernard Shaw argued that Shakespeare’s heroines have remained popular in part due to their frankness in embracing their own sexuality:

…she makes love to the man instead of waiting for the man to make love to her–a piece of natural history which has kept Shakespeare’s heroines alive, whilst generations of properly governessed young ladies, taught to say “No” three times at least, have miserably perished.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Riverside Shakespeare glosses (2nd ed., p. 1114):

Fain: gladly.

dwell on form: maintain formal behavior.

In other words, Juliet would like to revert to proper behavior and deny what Romeo has heard her saying, but she knows she can’t. In a sort of to-hell-with-it moment, she says goodbye to “compliment” (formality).

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

adventure: “risk the voyage” (Riverside Shakespeare 2nd ed., p. 1114).

Romeo portrays himself as an adventurous sailor who would voyage to the ends of the earth to win the treasure of her love. (The 2000 Penguin Romeo and Juliet glosses “farthest sea” as the Pacific.)

Romeo intends the metaphor to be charming and, probably, teasing. However it also echoes the age-old trope of a woman’s beauty and/or virginity as valuable commodity. See Romeo and Benvolio’s discussion of Rosaline in 1.1:

ROMEO
O, she is rich in beauty, only poor,
That when she dies with beauty dies her store.

BENVOLIO
Then she hath sworn that she will still live chaste?

ROMEO
She hath, and in that sparing makes huge waste…

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Juliet: Who told you where I lived, anyway?

Romeo: LOVE.


Romeo’s lines here can be played as either earnest or teasing (his “merchandise” metaphor suggests the second). Either way, he deflects the question.

Counsel here means advice, as opposed to Juliet’s sense of “private thoughts” above.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Throughout Romeo and Juliet, night is imagined as a cloak, screen, friend, or source of protection for the two lovers. Their love must be conducted in secrecy. Daylight is the “envious” enemy, leaving them vulnerable to exposure. See especially 3.5:

JULIET
O, now be gone; more light and light it grows.

ROMEO
More light and light; more dark and dark our woes!

This video is processing – it'll appear automatically when it's done.