“I swear you can see in Juliet's eyes that she knows she's going to die because of how she feels for this guy.I think, this scene is where the true tragedy lives. It's not because they both die in the end. The tragedy is all right there…in the very beginning. When he smiles at her. When she instantly forgets.Forgets how dangerous he is.You can't blame her for how it plays out. Romeo's so amazing in this movie—what he says to her—how he looks at her. She's obviously drowning in butterflies.I know for a fact now, butterflies like that can be horrible, beautiful things.”

“The tragedy is all right there...in the very beginning when he smiles at her. When she instantly forgets. Forgets how dangerous he is.”

“Well, obviously, she's feeling very sad, because of Cedric dying. Then I expect she's feeling confused because she liked Cedric and now she likes Harry, and she can't work out who she likes best. Then she'll be feeling guilty, thinking it's an insult to Cedric's memory to be kissing Harry at all, and she'll be worrying about what everyone else might say about her if she starts going out with Harry. And she probably can't work out what her feelings towards Harry are anyway, because he was the one who was with Cedric when Cedric died, so that's all very mixed up and painful. Oh, and she's afraid she's going to be thrown off the Ravenclaw Quidditch team because she's flying so badly." A slightly stunned silence greeted the end of this speech, then Ron said, "One person can't feel all that at once, they'd explode.”

“Nor praise the deep vermilion in the rose," she read, and so reading she was ascending, she felt, on to the top, on to the summit. How satisfying! How restful! All the odds and ends of the day stuck to this magnet; her mind felt swept, felt clean. And then there it was, suddenly entire; she held it in her hands, beautiful and reasonable, clear and complete, here--the sonnet.But she was becoming conscious of her husband looking at her. He was smiling at her, quizzically, as if he were ridiculing her gently for being asleep in broad daylight, but at the same time he was thinking, Go on reading. You don't look sad now, he thought. And he wondered what she was reading, and exaggerated her ignorance, her simplicity, for he liked to think that she was not clever, not book-learned at all. He wondered if she understood what she was reading. Probably not, he thought. She was astonishingly beautiful. Her beauty seemed to him, if that were possible, to increase.”

“What did you call her?" she asks but I don't think it's her real question."Sunshine," I say, and she smiles like she believes it's perfect and she may be the only person other than me who would think so."What is she to you?" she whispers. The real question and I know the answer even if I don't know how to say it.Drew's muffled voice rises up from the floor before I can respond."Family," he says.And he's right.”

“In classical pas de deux, the man controls everything. He picks up the girl. He puts her down. He turns her, takes her weight, stops her, and she must always go where he leads. The woman submits to all this completely. But her submission is not feeble. In fact, the only reason she can submit so utterly is because she is very strong in herself. In her center. She does not collapse, or cave, or stutter-step, or flop. No, she holds herself very consciously, very confidently. She is centered within her own weight. So the man always knows where she is. He can feel her. He can absorb her strength.”