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If Shakespeare had to go on an author tour to promote Romeo and Juliet, he never would have written Macbeth.
--
As quoted in The Shakespeare Book of Lists : The Ultimate Guide to the Bard, His Plays, and How They'Ve Been Interpreted (And Misinterpreted) Through the Ages (2001) by Michael Lomonico

 

Joyce Brothers

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Romeo wants Juliet as the filings want the magnet; and if no obstacles intervene he moves towards her by as straight a line as they. But Romeo and Juliet, if a wall be built between them, do not remain idiotically pressing their faces against its opposite sides like the magnet and the filings with the card. Romeo soon finds a circuitous way, by scaling the wall or otherwise, of touching Juliet's lips directly. With the filings the path is fixed; whether it reaches the end depends on accidents. With the lover it is the end which is fixed, the path may be modified indefinitely.

 

William James

 

'I'm probably not going to get married unless I live with somebody for 10 or 20 years. But these people (Romeo and Juliet) took a chance and they did it. We don't have the balls that Romeo did.'

 

Leonardo DiCaprio

 

I'm not logical. I'm infected with the romantic fever. It began in my teens when I read Baudelaire in secret, in a country boarding school in England from which I slipped away by climbing over the wall. I was fifteen, the same age as Juliet--a Juliet for whom Romeo had no attraction.

 

Renee Vivien

 

What Elizabethan playwrights learned from the Greek classics was not theories of insanity, but dramatic practice — that is, madness is a dandy theatrical element. It focuses the audience's attention and increases suspense, since you never know what a mad person may get up to next; and Shakespeare himself makes use of it in many forms. In King Lear, there's a scene in which one man pretending to be mad, another who has really gone mad, and a third who has probably always been a little addled, are brought together for purposes of comparison, irony, pathos, and tour de force acting. In Hamlet, there are two variations — Hamlet himself, who assumes madness, and Ophelia, who really does go winsomely bonkers. In MacBeth, it's Lady MacBeth who snaps.

 

Margaret Atwood

 

Arguably the smartest person ever to perform in the genre that gave us Green Acres. Exposed to Shakespeare as an infant — her mother, Diane, a former junior high reading teacher, would read aloud from his plays — Witt was able to recite from Romeo and Juliet and the sonnets at 2. By then, on some cognitive tests she was scoring at the level of a high school senior.

 

Alicia Witt