There's a different sort of double-time effect in Romeo and Juliet, quite unlike the type found in Othello and King Lear. In this play, the contrast is caused by the very different perceptions of passing time that we get from the very different worlds of the play: the adult world provides a very strict sense of time, with many references to specific moments and the repeated use of words such as "day" (which appears sixty times in the play), "night" (sixty-five), "time" (forty-four), and "hour" (twenty-four). The world of the young lovers however, transcends this strict temporality with a poetic vision of time that is made to seem elastic in quality. Juliet in particular has many lines of this nature. Towards the end of the balcony scene, when Romeo asks her to send for him at the hour of nine the next day, Juliet responds, "'tis twenty years till then". As he leaves her after their wedding night, she says, "I must hear from thee every day in the hour/ For in a minute there are many days". And perhaps the most memorable moment of this type is said in soliloquy at the beginning of 2.5, as she waits for the Nurse who is to bring her news of Romeo and their engagement:

In half an hour she promised to return.

Perchance she cannot meet him: that's not so.

O, she is lame! love's heralds should be thoughts,

Which ten times faster glide than the sun's beams,

Driving back shadows over louring hills:

Therefore do nimble-pinion'd doves draw love,

And therefore hath the wind-swift Cupid wings.

Now is the sun upon the highmost hill

Of this day's journey, and from nine till twelve

Is three long hours, yet she is not come.

Had she affections and warm youthful blood,

She would be as swift in motion as a ball;

My words would bandy her to my sweet love,

And his to me...

It's partly for this reason (i.e. the conflict of imaginative time vs. the clock) that this play, with its story more known than any other, can still create tremendous tension in an audience.