In his 1562 narrative poem The Tragical History of Romeus and Juliet , Arthur Brooke translated Boaistuau faithfully but adjusted it to reflect parts of Chaucer's Troilus and Criseyde .  There was a trend among writers and playwrights to publish works based on Italian novelles —Italian tales were very popular among theatre-goers—and Shakespeare may well have been familiar with William Painter 's 1567 collection of Italian tales titled Palace of Pleasure .  This collection included a version in prose of the Romeo and Juliet story named "The goodly History of the true and constant love of Romeo and Juliett" . Shakespeare took advantage of this popularity: The Merchant of Venice , Much Ado About Nothing , All's Well That Ends Well , Measure for Measure , and Romeo and Juliet are all from Italian novelle . Romeo and Juliet is a dramatisation of Brooke's translation, and Shakespeare follows the poem closely but adds extra detail to both major and minor characters (in particular the Nurse and Mercutio).   
Enter ROMEO and JULIET above, at the window
Wilt thou be gone? it is not yet near day:
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear;
Nightly she sings on yon pomegranate-tree:
Believe me, love, it was the nightingale.
ROMEO It was the lark, the herald of the morn,
No nightingale: look, love, what envious streaks
Do lace the severing clouds in yonder east:
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.
I must be gone and live, or stay and die.
JULIET Yon light is not day-light, I know it, I:
It is some meteor that the sun exhales,
To be to thee this night a torch-bearer,
And light thee on thy way to Mantua:
Therefore stay yet; thou need'st not to be gone.
ROMEO Let me be ta'en, let me be put to death;
I am content, so thou wilt have it so.
I'll say yon grey is not the morning's eye,
'Tis but the pale reflex of Cynthia's brow;
Nor that is not the lark, whose notes do beat
The vaulty heaven so high above our heads:
I have more care to stay than will to go:
Come, death, and welcome! Juliet wills it so.
How is't, my soul? let's talk; it is not day.
JULIET It is, it is: hie hence, be gone, away!
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division;
This doth not so, for she divideth us:
Some say the lark and loathed toad change eyes,
O, now I would they had changed voices too!
Since arm from arm that voice doth us affray,
Hunting thee hence with hunt's-up to the day,
O, now be gone; more light and light it grows.
ROMEO More light and light; more dark and dark our woes!
Enter Nurse, to the chamber
Romeo and Juliet's quick attraction to one other must be viewed through the lens of their youth. Even when Romeo is lusting after Rosaline, he is more interested in her sexuality than her personality, and he is upset to learn that she has chosen a life of chastity. Romeo feels sparks of desire for Juliet before they even speak, reinforcing the young man's quick passions. Shakespeare further underscores Romeo's sexual motivation by associating his and Juliet's love with darkness. For example, Romeo compares Juliet to "a rich jewel in an Ethiope's ear" when he first sees her (). The darkness is central to their love, as they can only be together when the day is over. Throughout the play, Shakespeare associates daytime with disorder – not only does the Act I street fight occur in the daytime, but Romeo also kills Tybalt during the day – while order appears within the secrecy afforded by nighttime.