Source identified1
“The course of true love never did run smooth.”
Voice: Fictional character · Lysander
Love is described as complicated rather than frictionless, which makes the line a durable reminder against idealizing relationships.
Source note: A Midsummer Night’s Dream, Act 1, Scene 1; Lysander says this to Hermia while describing the obstacles that repeatedly frustrate lovers. It is character dialogue inside their threatened relationship.
Source identified2
“Our remedies oft in ourselves do lie.”
Voice: Fictional character · Helena
Before assuming rescue must come from outside, the line asks what capacity, choice, or effort is already available within.
Source note: All’s Well That Ends Well, Act 1, Scene 1.
Source identified3
“Love all, trust a few, do wrong to none.”
Voice: Fictional character · Countess of Roussillon
The advice combines generosity with judgment: goodwill can be broad while trust remains selective.
Source note: All’s Well That Ends Well, Act 1, Scene 1; the Countess gives Bertram compact advice about conduct before he leaves.
Source identified4
“This above all: to thine own self be true.”
Voice: Fictional character · Polonius
Polonius frames integrity as consistency between inward conviction and outward conduct, although the advice belongs to a fallible fictional counselor.
Source note: Hamlet, Act 1, Scene 3; Polonius gives Laertes this advice before Laertes leaves for France.
Source identified5
“Parting is such sweet sorrow.”
Voice: Fictional character · Juliet
The phrase holds affection and pain together: separation hurts precisely because the relationship being left is valued.
Source note: Romeo and Juliet, Act 2, Scene 2; Juliet speaks as the lovers part for the night.
Source identified6
“It is the east, and Juliet is the sun.”
Voice: Fictional character · Romeo
The metaphor enlarges personal admiration into a whole horizon, presenting beauty as something that changes the scale of the observer’s world.
Source note: Romeo and Juliet, Act 2, Scene 2; Romeo continues the dawn imagery after seeing Juliet.
Source identified7
“O, she doth teach the torches to burn bright!”
Voice: Fictional character · Romeo
Romeo’s first reaction to Juliet turns visual beauty into illumination, showing how admiration changes the way the surrounding scene is perceived.
Source note: Romeo and Juliet, Act 1, Scene 5.
Source identified8
“But, soft! what light through yonder window breaks?”
Voice: Fictional character · Romeo
Romeo’s question makes Juliet’s appearance seem to transform the night itself, using light as the language of sudden admiration.
Source note: Romeo and Juliet, Act 2, Scene 2; Romeo sees Juliet at the window.
Source identified9
“What’s in a name? That which we call a rose by any other word would smell as sweet.”
Voice: Fictional character · Juliet
The line questions whether labels and inherited identities should determine the value or reality of the person beneath them.
Source note: Act 2, Scene 2; Juliet separates Romeo from the social meaning of his family name.
Source identified10
“How sweet the moonlight sleeps upon this bank!”
Voice: Fictional character · Lorenzo
The line turns still moonlight into something almost physical and resting, creating beauty through quietness rather than spectacle.
Source note: The Merchant of Venice, Act 5, Scene 1; Lorenzo speaks in the moonlit garden at Belmont.
Source identified11
“If music be the food of love, play on.”
Voice: Fictional character · Duke Orsino
Love is treated as an appetite that can be intensified through beauty, sensation, and repeated emotional stimulation.
Source note: Act 1, Scene 1; Orsino opens the play by comparing music and appetite.
Source identified12
“I can no other answer make but thanks, and thanks, and ever thanks.”
Voice: Fictional character · Sebastian
Sebastian responds to Antonio’s costly loyalty with repeated thanks while also admitting that words alone are an inadequate repayment for practical care.
Source note: Twelfth Night, Act 3, Scene 3, Project Gutenberg #1526. Sebastian says this to Antonio after Antonio explains that fear for Sebastian’s safety drove him to follow despite the danger of returning to Illyria; it is character dialogue, not Shakespeare autobiography.