Etymology: Ventus is a Latin word, meaning "wind". Also used by Ronald Weasley unsuccessfully in the same class thanks to his damaged wand. Verdillious Verdillious. Etymology: "Waddiwasi" comes from two words. Washing up spell Type: Charm Description: Enchanted dirty dishes to wash themselves. Etymology: "Wingardium" almost certainly contains English wing , meaning "fly"  , and Latin arduus , meaning "high" . White sparks Type: Charm Description: Jet of white sparks. Notes: The incantation to this spell is almost certainly Baubillious.
Sign In Don't have an account? Start a Wiki. Do you like this video? It is used to entrap an enemy in an area. Also mentioned that nobody can disapparate from Hogwarts; it is due to this jinx. Anti-intruder jinx Type: Jinx Description: Prevents intruders from entering an area. Antonin Dolohov's curse Type: Curse Description: An unknown curse that causes injuries that are capable of killing with enough power.
Etymology: Latin apparere , meaning "to appear"; -ium and -cium are common Latin noun endings. The destination is one that the primary user has been to or seen in some fashion previously. Can be used to apparate multiple people at once if holding each other. No incantation required. In year six, Dumbledore uses it to take Harry to visit Slughorn. Year seven, Hermione, Ron, and Harry use it as they search for the horcruxes. Etymology: Aqua means, in Latin , water. Eructo is a verb meaning "I raise"; roughly translated, it means "I raise water".
He learned the spell from a diary , who attempted to use it in a memory. Etymology: From the Latin aranea , meaning "spider", and exuo , meaning "I lay aside". Can be used on multiple targets, as well as on the caster themselves. It was invented by Daisy Pennifold in for use on the Quaffle in Quidditch. Etymology: Likely the combination of the Anglo- French arester , meaning "to bring to a stop" and the Latin momentum , meaning "the force or strength gained whilst moving"; the literal translation hence is "Bring the force or strength gained whilst moving to a stop".
Arrow-shooting spell Type: Conjuration Description: Fires arrows from the caster's wand. The charm also works underwater, propelling the caster above the surface. Etymology: Derived from Latin ascendo , meaning "to climb". It is accompanied by a flash of green light and a rushing noise.
There is no known counter-curse that can protect the victim from dying, except for a loving sacrifice. It is one of the three Unforgivable Curses. Rowling said "Does anyone know where avada kedavra came from? It is an ancient spell in Aramaic, and it is the original of abracadabra , which means "let the thing be destroyed". Originally, it was used to cure illness and the "thing" was the illness, but I decided to make the "thing" as in the person standing in front of me.
I take a lot of liberties with things like that. I twist them round and make them mine. Etymology: From Latin avis meaning "bird" and forma meaning "shape". Etymology: The incantation Avenseguim is likely derived from the portmanteau of avens, a Latin adjective for "eager" or "craving", and seguir, the Spanish and Portuguese verb meaning "to follow", or alternatively from the Catalan seguim, meaning "we follow". Taken together, Avenseguim can be interpreted as "to eagerly follow", which aptly characterises the behaviour of a tracking device. When used in conjunction with Oppugno , it can be used offensively.
Also employed offensively by Hermione Granger against Ron Weasley. Etymology: The Latin word avis means "bird". Used by the Hogwarts professors to enchant suits of armour. Etymology: Cantare is Latin for "sing". Also on the tent in which the Weasleys, Harry and Hermione stay during the Quidditch World Cup in ; the tent is also used by Harry, Ron and Hermione as shelter in Also, Hermione cast this spell upon her handbag in the same year. Etymology: From the Latin carpe , meaning "to seize" and retracto , meaning "I draw back".
Caterwauling Charm Type: Charm Description: Anyone entering the perimeter of this spell sets off a high-pitched shriek. This spell may be related to the Intruder Charm. Cauldron to badger Type: Transfiguration Description: Transforms cauldrons into badgers. Notes: This spell may be Badgering. Etymology: The incantation is a Latin phrase which translates to "beware of the enemy". Overuse of the spell may cause the target to break into an uncontrollable laughing fit.
This spell was invented by Felix Summerbee. It was only seen in the film. Etymology: Aperio is Latin for "uncover" or "open"; Cista is Latin for "trunk" or "chest". It is the counter-charm to the Unlocking Spell. Etymology: Perhaps a portmanteau of the Latin words colligere , which means "gather" and porta , which means "gate". Notes: This spell can easily be countered with Alohomora. Used by fifth-years in their OWLs. Etymology: Almost certainly a combination of English "colour" and "vary". Etymology: The incantation is direct Latin for "destroy".
Notes: This spell seems to use heat for its explosion, while Expulso uses pressure instead. It was used multiple times in and Etymology: The incantation, when non-capitalized, means "I confuse"; the title may derive from the Latin confundere , meaning "to confuse" or "to perplex. The Oculus Potion is able to counteract this curse. Dragons are particularly susceptible to this curse, as their hide makes them resistant to most spells, while their eyes remain vulnerable.
Olympe Maxime used this spell on some giants in Etymology: "Conjunctivitis" is the technical term for "pink eye," demonstrating its effects of irritating the eye and causing it to shut. Cornflake skin spell Description: This spell causes the victim's skin to appear as though it was coated in cornflakes. Cracker Jinx Type: Jinx Description: This spell is used to conjure exploding wizard crackers ; it can be used in duelling to harm the opponent, but the force of the explosion may also affect the caster.
Cribbing Spell Type: Spell Description: This spell, which may possibly be a charm, is used to assist the caster in cheating on written papers, tests, and exams. It is possible that these spells can negate anti-cheating spells. Notes: This maybe be the spell that causes Harry to turn his eyebrow yellow in This curse does not physically harm the victim, but may in extreme cases drive them insane.
The pain is described as having hot knives being driven into the victim. It cannot be cast successfully by a person who is doing so out of pure spite or anger; one must feel a true desire to cause the victim pain. Etymology: Latin crucio means "I torture". Etymology: From the English duck , and the Latin forma meaning "shape". Etymology: Latin duro means "harden".
Its countercurse is Redactum Skullus. Etymology: See etymology for above entry; "skullus" is Latin for "skull". Precise effects unknown. Invented by Urquhart Rackharrow. Notes: This is part of a family of healing spells. Etymology: Epoximise comes from the English word epoxy , which is a type of adhesive. Notes: This spell may be the Permanent Sticking Charm or a variation. Etymology: Erectum is past principle of erigere , which is Latin for "to erect". Notes: This is almost certainly a typo of Evanesco.
Vanished things go "into non-being, which is to say, everything. Etymology: From "evanescene", meaning "something that is fleeting or disappears. Etymology: The Latin words everte , which means "to throw out" and statua , from the same language, meaning "image". The Patronus takes the form of an animal, unique to each person who casts it.
The form of a Patronus can change when one has undergone a period of heightened emotion. This is the only known spell effective against Dementors or Lethifolds. Etymology: Patronus means "protector" in Latin; in archaic Latin, it means "father"; considering the form Harry 's takes, this is interesting. Harry Potter 's signature spell. Etymology: Probably a combination of Latin expello , meaning "expel", and arma , meaning "weapon". It was also used differently in the Prisoner of Askaban PS2 video game, in which a pink coloured shield is formed to protect against jinxes.
Etymology: From expulsum , which is past principle of expellere , which means "expel". Fiendfyre Fiendfyre in the Room of Requirement caused by Vincent Crabbe Type: Curse Description: Unleashes cursed fire that takes the shape of animals that actively seek out living targets and burn anything in its path, including nearly indestructable substances such as horcruxes.
In addition, this fire is made even more dangerous due to the fact that it is extremely difficult to control, and cannot be extinguished with normal or enchanted water. Hermione Granger also used this in the film version of Harry Potter and the Chamber of Secrets to destroy Dobby's rogue Bludger after its Quidditch match. Etymology: Latin finire , meaning "to finish", and incantatem. Finger-removing jinx Type: Jinx Description: Removes a person's fingers. Etymology: From the Latin flagrate , meaning "a burn".
Notes: This may be related to, or the incantation for Match to needle. Also seen in Harry Potter and the Cursed Child. Flying Charm Type: Charm Description: This spell is cast on broomsticks and flying carpets to allow them to fly. Etymology: Latin furnunculus , meaning "petty thief", or English furuncle , a synonym for "boil".
Fur spell Type: Charm Description: Causes fur to grow on the victim. Etymology: Most likely from Latin homo , meaning human, and "reveal", though the classical Latin form would be hominem instead of homenum , which shows Portuguese influence "man" is homem in Portuguese —indeed, Rowling speaks the language.
Notes : It can be used non-verbally; Dumbledore does so to detect Harry underneath his Invisibility Cloak. The charm has a powerful effect in that it is not fooled by various methods of concealment and disguise, such as invisibility cloaks , the Polyjuice Potion or transformed Animagi. Suggested Etymology: Latin homo meaning "person" and Greek morphosis meaning "shaping" Horn tongue hex Type: Hex Description: Transforms the target's tongue into a horn.
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He quickly ruled it out, however, realising it would only give the dragon yet another way to attack him. This spell was first used on the Comet to prevent players from overshooting the goal posts and from flying off-sides. Horcrux-making spell 4 of Voldemort's horcruxes Type: Curse Description: This spell allows a part of a wizard's soul to pass into an object, thereby making the object a Horcrux. One has to commit murder and take advantage of the soul's "splitting apart" by this supreme act of evil in order to be able to perform this spell, and it is probably very complex.
In , Horace Slughorn described the spell to a young Tom Riddle as encasing a portion of the torn soul and placing it within an object. The spell itself is described in detail in a banned book known as "Secret of the Darkest Art", which Hermione Granger summoned from Albus Dumbledore's office near the end of their sixth year. According to the text, use of this spell to separate the soul will make the remaining portion of the soul very fragile, and can only be reversed by "remorse" of the wrongs the creator had made; however, the pain caused by attempting to reverse the creation of a Horcrux can destroy the individual.
Notes: When J. Rowling was asked about what the steps are to create a Horcrux Rowling declined to answer, saying that "some things are better left unsaid". However, in the Harry Potter Encyclopedia , it is explained, and the editor is said to have felt like vomiting after reading it. Also used shortly after to melt snow. Also was used by Albus Dumbledore in to dry Harry's and his own robes. Quite possibly a form of Ventus. It is one of the many lesser variations of the Levitation Charm.
Hurling Hex Type: Hex Description: Causes brooms to vibrate violently in the air and try to buck their rider off. Notes: May be related to the broom jinx. The victim is put into a trance-like state, and becomes very suggestible to the commands of the caster. However, those who are strong willed may learn to resist it. One of the three "Unforgivable Curses," the use of this curse on another human results in capital punishment or life sentence in Azkaban. First seen in when Barty Crouch Jr , impersonating ex- Auror Alastor Moody , used it on a spider and later on students during a "class demonstration" in a Defence Against the Dark Arts class.
While breaking into Gringotts in , Harry used it on a goblin and a Death Eater when they became suspicious. Etymology: Latin impero , I command, and English "imperious". Imperturbable Charm Type: Charm Description: Creates an invisible magical barrier on an object, such as a door. This barrier bounces objects off of it, and muffles sounds. It was also used by Molly Weasley in the same year on the door of the room in which an Order of the Phoenix meeting was being held, in order to prevent her sons, Fred and George, from eavesdropping.
Also used in , first by Ron to protect objects in Yaxley's office from rain, and then by Hermione to protect Harry , Ron and Griphook from the burning treasure in the Lestranges' vault. Etymology: It is said that the Latin impervius means and is the source of "impervious"; although it is the source of the word, it is better translated as impassable, as in a mountain peak.
Etymology: Probably English incarcerate , "to imprison". Possibly linked to the Latin in carcerem , "in to prison". Notes: A non-verbal version of this spell may have been used to tie up Remus Lupin by Severus Snape during the encounter in the Shrieking Shack , and then later Peter Pettigrew in It may also have been used by Quirrell in , although he is said to have merely "snapped his fingers". Also, it may have been the spell Antonin Dolohov used non-verbally to bind Ron Weasley with "shining black ropes" in a skirmish on Tottenham Court Road. In , this spell was used several times in battle, most noticeably when Hagrid's hut was set ablaze.
It was also possibly used by Hagrid in to create a fire in the hearth before bringing Harry to London. Etymology: Latin incendere , "to set fire to ". Note that the first principal part of this verb meaning "I set fire" is incendo , not incendio ; Rowling's incantation does not match exactly any correct conjugation of the verb. A plausible but less likely source might be that it is a back-formation from the English word "incendiary," i.
This fire is said to be portable and blue, which may be a different enchanted fire, possibly the bluebells flames incantation. A page with a brief description including weaknesses and strengths of the charmed creature is added to the caster's Folio Bruti. He quickly decided it would be ineffective, because dragons do not have hair.
Notes: This spell has similar effects to the Hair-Loss Curse. The incantation is only used in the film adaptation of Harry Potter and the Philosopher's Stone. Etymology: Latin inflammo , or the verb inflammatio meaning "to set on fire". Created by Severus Snape. Etymology: Probably from the French langue "tongue" and the English "lock". Etymology: From Latin lepus meaning hare, and forma meaning "shape". Legilimens Legilimency Spell Type: Charm Pronunciation: Le-JIL-ih-mens Description: Allows the caster to delve into the mind of the victim, allowing the caster to see the memories, thoughts, and emotions of the victim.
Also during Occlumency lessons in Also used non-verbally by Snape on Harry in to allow him to see where Harry had learned the Sectumsempra spell. Etymology: Latin legere "to read" and mens "mind". Harry Potter learnt it by reading the notes written by the Half-Blood Prince. He used it on Ron. In the Order of the Phoenix film, Luna Lovegood somehow uses this against a Death Eater, although she speaks it, and the spell's name is unknown to any students until Half-Blood Prince.
Etymology: Latin levare , "raise" and corpus , "body" or "corpse". Etymology: Latin liberare , "to free", and corpus , "body" or "corpse". Notes: It is not clear why Levicorpus has a specific counter-spell, and is not neutralised by simply using Finite Incantatem , although this could be due to the fact that Snape invented the spell and therefore made it irreversible except by its specific counter-curse. Locomotor Locomotion Charm Type: Charm Pronunciation: loh-kuh-MOH-tor Description: Allows a witch or wizard to levitate a target a few inches off of the ground and then move said object in any given direction.
Similarly to the Summoning Charm , a specific object can be moved by calling the object aloud after saying the incantation. Filius Flitwick similarly used it to move Sybill Trelawney 's trunk after Dolores Umbridge sacked her. Parvati Patil and Lavender Brown used this spell to race their pencil cases around the edges of the table. A variation seen in is Piertotum Locomotor , which caused the statues of Hogwarts to be animated. Etymology: Latin locus place and moto , "set in motion" passive motor , or English locomotion.
Used by Harry Potter on Draco Malfoy, who deflected it, in One of the spells on Pottermore. Notes: It is unclear whether or how this spell is related to the Locomotor spell. It could, however, be that the curse "locks" any part of the body in accordance to where it is pointed, or moves the body into a position of the caster's choosing whilst placing them into an immobile state.
It is possible that Draco had pointed his wand at Neville and the curse "locked" his legs together. Used in Pottermore. Etymology: Latin lumen , "light". Notes: opposite incantation, Nox , puts the light out. It is a variant of the Wand-Lighting Charm. Etymology: Lumos plus Latin duo , "two". The incantation was only used in the film adaptation of Harry Potter and the Philosopher's Stone. The writers aren't referring to a type of harmless prestidigitation: these tricks are mean-spirited stratagems and lies. This makes some sense if you know that trick is from the Latin tricari , which means "to behave evasively" or "shuffle.
In time, however, trick began to undergo softening, and by the s, it was also used to refer to more light-hearted pranks and jokes. That's not to say that trick still didn't retain some tinge of disparagement. For a few centuries, trick also referred to a stupid action undertaken without any forethought, and the use of trick in phrases like "up to your old tricks" refers to a habit or peculiarity of personality that is considered undesirable as often as not.
The magic trick meaning was an extension of the "prank, hoax" meaning. It came into use in the s first in reference to jugglers, and then in reference to conjurers and magicians. But if trick only goes back to the 15th century There are a number of now archaic and obsolete words that filled that role, but one that has survived into the modern era is craft. First and foremost, it's sleight with an e and not slight without an e. The confusion is understandable: sleight and slight are homophones. Sleight of hand is a 16th-century term that initially referred to manual dexterity, but soon thereafter became associated with tricks that required manual dexterity, like juggling, and then tricks that required manual dexterity and that fool the eye, like tricks in which cards and coins seem to disappear and reappear in places the audience doesn't expect.
While many see sleight of hand as a marvel, others have latched onto the "trick" part of sleight of hand : the term now can also refer to skill in general deception. Banks have been shedding risky assets to show regulators that they are not as vulnerable as they were during the financial crisis. In some cases, however, the assets don't actually move—the bank just shifts the risk to another institution. This trading sleight of hand has been around Wall Street for a while. If magic has a verb, it's conjure. The verb refers to bringing something about or affecting something by magic "The magician conjured up a rabbit out of thin air" or as if by magic "We conjured up a brilliant plan".
Conjure implies the act of making something out of nothing, or of making something suddenly appear without warning. Its original meaning in English, however, refers to binding someone to do something by making them swear an oath. Conjure comes ultimately from the Latin prefix con- , "with," and jurare , "to swear. The path between the two conjures isn't as circuitous as one might imagine. As soon as conjure appeared in English prose, it gained a very particular application that gave it mystical overtones: it referred to summoning a devil or spirit and binding it to a particular action.
This jump from the corporeal to the metaphysical realm laid the groundwork for conjure 's use in the magical arts to refer to summoning or seeming to summon something out of thin air. There is one more branch stemming from the original bind with an oath meaning: conjure was used historically to refer to beseeching or pleading with someone.
It was a favorite of Sir Walter Scott's:. I asked this interview, to conjure that you will break off all intercourse with our family. Most of us are familiar with charm as it refers to a quality that makes someone or something likable or attractive: a vacation getaway with charm, a TV host that radiates charm. But charm has magical origins. When it first came into English in the 14th century, charm referred to the act of chanting or reciting a magic spell:.
If you've read the Harry Potter books, you'll recognize that Rowling uses the original meaning of charm in her series to refer to a type of magic. Charm comes ultimately from the Latin word canere , which means "to sing or chant. But the "spell" meaning of charm quickly broadened. In short order, charm also came to refer to anything believed to have the magical properties of a spell. We still use this sense today when we refer to "good-luck charms" like rabbit's feet, and it also weakened and gave us another modern meaning we ascribe to charm : small ornaments worn on a bracelet or chain.
I stress this point because it is all too easy to dismiss the Burning Times as an example of a primitive society in which absurd and dangerous superstitions were granted free reign, with terrible consequences.
The casual assumption is that we are now beyond such things. In reality, however, our various psycho-pathologies have just assumed more varied and subtle forms. While the story lines of the dramas of spiritual conflict played out throughout history—be that between Osiris and Set, or Jesus and Judas, or the Church and Witchcraft—may be constantly changing, the underlying patterns basically remain.
Executions of Witches may no longer occur at least in Europe or North America , but the essence of the pattern is alive and well. The celibate priest or monk of whatever tradition is by definition an unnatural person, because he and it is usually a he is commonly in a kind of war with himself, living in a perpetual state of repression. This repression will naturally seek outlets, and the Christian image of the Devil—a dark, hoofed, horned, freakish creature who requires women to kiss his ass multiple times as well as his genitals —can hardly be more than the outer face of repressed sexual energy.
He is, essentially, the celibate priest inverted, as much as he is the inversion of the plastic Jesus of perfect purity who entered the world via a virgin. From this perspective, the priest and the Devil can be seen as two sides of the same coin. That celibate priests and monks often become homosexually or at the least, bisexually oriented, is common knowledge.
The lesson we can glean from the Witch-craze tragedy is on many levels, but certainly the issue of integrating our loftier, spiritual impulse with our earthy, animal nature, is at the forefront. The Witch-craze was very much a sexual phenomenon—regardless of the many other realms of human concern it touched on religious, social, economic. That, ultimately, transcends the issue of gender. We all carry within us the seeds of an Inquisitor or torturer—the capacity for intolerance, for unreasoned judgment, for sadistic dominance.
It is perhaps fitting that the modern Wiccan Witch practices a religion that is innocuous and concerned with healing and spiritual awakening; and above all with being attuned to that which is natural. To be truly natural is to bring the two together, so as to move beyond both—beyond the limitations of being bloodless, self-sacrificing and self-loathing, and beyond the limitations of being crude, narcissistic, and driven by selfish impulse.
Modern Witchcraft Wicca and related neo-Pagan faiths are very popular here in the early 21 st century, and as such there are innumerable books available explaining the tradition from the point of view of a modern Witch, neo-Pagan, or sympathetic writer. Possibly the best of these was written by Margot Adler granddaughter of the famed psychologist Alfred Adler. The book is Drawing Down the Moon Boston: Beacon Press , originally published in , appearing in revised editions in , , and Paul: Llewellyn Publications, , pp. Robbins, The Encyclopedia of Witchcraft and Demonology , p.
These numbers are from an exhaustive work by Ronald Hutton of Bristol University, available online at www. Credible sources can also be found online. Norton and Company, See Greer, Ibid. Crowley frequently dictated to others—the entirety of his Diary of a Drug Fiend and large parts of his Confessions were dictated to his Scarlet Women at the time.
Crowley was known to have made a serious study of Frazer. Cohn, p. Adler, Drawing Down the Moon edition p. Copyright by P. Mistlberger, all rights reserved. Romeo and Juliet. Star-Crossed Lovers and Families at War. 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…. It refers to a love relationship that is doomed from the beginning, predestined to tragedy, having an ending that is as fixed as the motions of the stars above. As in the Hermetic maxim, as above, so below , the heavens were thought by the ancients to directly reflect and influence the affairs of men and women. The Arthurian romantic legend of Lancelot and Guinevere predates it by around four hundred years, first appearing in the poem Lancelot: The Knight of the Cart , written by the French poet Chretien de Troyes, around C.
But it was Chretien de Troyes who first popularized the story of the doomed triangle of love between Arthur, Guinevere, and Lancelot.
Other Celtic variations of this involved the wife of an important man such as a king or other lord being abducted by another man and taken to some mysterious alternate world or dimension, eventually to be rescued by her husband. However, courtly or romantic love, especially involving characters who consummate their passion, is a relatively recent ideal in history, findings its origins with the 12 th century troubadours, particularly William IX, the duke of Aquitaine , who is recognized as composing the first troubadour love songs.
Lancelot boasted with some pride. I would not heed an iron bar. All that can keep me out is you;. If you allow me to come near,. This sort of courtly passion from the strong, handsome, and fearless warrior-knight was found to be irresistible to the queen, and she relented. Inevitably of course, their romance was discovered, with disastrous consequences for all parties. In one of the versions of the tale, Tristan defeats an Irish knight in battle, and then takes the Irish princess to southwestern England so that his uncle King Mark can marry her.
Along the way, Tristan and Isolde drink a magic potion that causes them to become deeply infatuated with each other.
Isolde ends up marrying Mark, but carries on a clandestine and adulterous affair with Tristan. Eventually King Mark finds out, and decides to punish Tristan with death and Isolde by sending her to a leper colony. Tristan however thwarts his would-be executioners, escapes, rescues Isolde, and the two take hiding in a forest. They are eventually found by Mark, but this time he decides not to punish them, coming to an agreement instead in which Tristan will go to France and Isolde will stay with Mark.
Once in France, Tristan marries another woman also named Isolde. The common theme in these tales involves not just triangles and passionate adultery, but also a challenge to the whole institution of marriage, and in particular, arranged marriage. It was this theme that was echoed most strongly in Romeo and Juliet. Other influences stretched back at least fifteen centuries, to a 2 nd century C.
All of these stories dealt with recurrent themes of idealized, romantic love vs. Although most literary critics agree that Romeo and Juliet is not one of his more mature or philosophically complex works—his dramatic masterworks such as Hamlet , Othello , King Lear , and Macbeth were yet to come—it is agreed that the reason Romeo and Juliet has remained his most popular work is not just because of the love story. The Story. To briefly summarize the plot: the story takes place in Verona, a town in northern Italy. At the center of the story are two families, the Montagues and the Capulets, who are hostile to each other, and have been for some time.
Romeo is a Montague, and Juliet is a Capulet. The play wastes no time in showing this conflict: after the brief prologue, a street fight ensues between some men of the rival clans. The Prince of Verona breaks up the fight with stern warnings to both sides about further breaches of the peace. Romeo is unhappy because he is in love with Rosaline, a young woman from the rival Capulet clan, but the love is not returned. While at this ball, looking for Rosaline, Romeo catches his first glimpse of Juliet. The two are smitten with each other.
When Romeo first lays eyes on her, he says,. Did my heart love till now? Forswear it, sight. He then approaches her; the energy between them is electric. After some brief witty banter between the two of them, Romeo speaks of his desire to kiss her in some adaptations of the play, Romeo does kiss her at this point. Juliet is then called away by her mother, at which point Romeo realizes that she is a Capulet the sworn enemies of his family. She remarks,. My only love sprung from my only hate,. Too early seen unknown, and known too late. Prodigious birth of love it is to me.
That I must love a loathed enemy. The ball ends and the guests leave, but Romeo, heartsick and having thoroughly forgotten Rosaline , seeks to be near Juliet, and so climbs over her garden wall. This is then followed by the famous scene with the balcony, with Juliet emerging as Romeo, unknown to her, watches her in the garden from below.
After rhapsodizing over her beauty, but not feeling the courage to call out to her, he concludes with,. O that I were a glove upon that hand,. That I might touch that cheek! That which we call a rose. By any other word would smell as sweet…. Oh Romeo, Romeo, wherefore art thou, Romeo? Deny thy father and refuse thy name,. Or if thou wilt not, be but sworn my love,.
Romeo, able to bear it no longer, then reveals himself to Juliet. At first she is startled, and embarrassed, and backtracks a bit on her affections, but this does not last long. Soon she admits to her love for him, cautioning him to not think that she is giving herself to him too easily, but only because he has already heard her private thoughts. When dawn breaks, Romeo pays a visit to Friar Lawrence, a Franciscan monk, to confess what has happened and to request that the Friar marry him and Juliet.
The Friar is at first shocked, and then kids Romeo for having so recently loved another woman Rosaline ; but he agrees to marry him and Juliet, seeing it as a good opportunity to heal a rift between their warring families. Romeo then meets up with his buddies Mercutio and Benvolio, and exchanges a series of remarkable witticisms with Mercutio.
Although normally Mercutio is the sharper wit, on this occasion Romeo at least matches him, because he is a man in love and so is firing on all cylinders. There was a long repeated rumor that Shakespeare decided he had to kill off Mercutio later in the play, before Mercutio himself ruined the play with his cutting witticisms and endless satire. Violent conflict then enters the play. Romeo attempts to intervene, and while doing so, Tybalt uses him as a shield to stab Mercutio.
As Mercutio lies dying, he continues to be dryly witty, but blames Romeo for intervening in the fight in such a way that allowed Tybalt to mortally wound him. Romeo than admits that his love for Juliet has softened him in a way that has not turned out well:. Thy beauty hath made me effeminate.
Mercutio then dies. At that moment Tybalt, who had run off, returns.
Romeo exchanges harsh words with him; they fight, and Romeo kills him. Convinced by Benvolio to flee, Romeo does so, at which point others show up, including Montague, Lady Capulet, and the Prince. Montague defends Romeo, saying his actions were justified, but the Prince banishes him from Verona, warning that if he is caught he will be executed.
Eventually she gets her words out clearly, and informs Juliet that Romeo has killed Tybalt. O serpent heart, hid with a flowering face! Did ever dragon keep so fair a cave? Beautiful tyrant! Dove-feather'd raven! Despised substance of divinest show! Just opposite to what thou justly seem'st, A damned saint, an honourable villain! O nature, what hadst thou to do in hell, When thou didst bower the spirit of a fiend In moral paradise of such sweet flesh?
Broken Spell (Singularity, #2) by Fabio Bueno
Was ever book containing such vile matter So fairly bound? O that deceit should dwell In such a gorgeous palace! Romeo laments that this is a fate worse than death, because he will be separated forever from Juliet and alive to know it. Romeo then furtively visits Juliet in her chamber, where they make love for the first and last time. As the morning comes, they part company in anguish.
Juliet feigns agreement. Juliet protests angrily, at which point her father enters; seeing her distraught mix of emotions, he is at first baffled. He then ends his outburst by threatening to banish his daughter to the streets if she rejects Paris. All this is then followed by the scenes for which the play is famous in addition to the earlier balcony scene. After telling him that she will kill herself rather than marry Paris, the friar then offers a plan: she is to drink a special potion that will cause her to seem to be dead for forty-two hours, enough time to avoid her marriage to Paris.
During that time, not only will she avoid the marriage, but her family, thinking her dead, will entomb her in the family crypt. Romeo is then to come and retrieve her, and the two can escape together.