Act 3, Scene 1 Romeo and Juliet.Why is this a pivotal scene in the play?
Consider Act 3, Scene1 in 'Romeo and Juliet.' Why is this a pivotal scene in the play? In your answer you need to consider:
* What we learn about the characters?
* How the scene is dramatically effective?
* How the scene links to the play as a whole?
* How the language used, adds to the drama and links to other scenes in the play?
* Social / historical /cultural influences in this scene and the play as a whole.
* Make sure you show evidence from the play through reference and quotation.
Act 3, Scene 1 is classed as a pivotal scene in the whole play. This is due to the fact that all the tension from previous scenes leads up to it and consequently it is a direct result of what happens afterwards.
The play is set in Verona, Italy in Europe. Shakespeare used this setting deliberately because people considered Italy to be a very romantic place at that time. So already it was the setting for a love story. People of that era were also very interested in any location abroad as it was highly unusual to travel away from home. So many were naturally attracted and excited by the play even before hearing about it.
The play itself portrays life in 16th Century. This explains why the characters opinions and lifestyles differ extremely when compared with our lives today; hence the play is very old. For example, people got married exceedingly young, girls were usually married around the age of about thirteen: -
"My child is yet a stranger in this world, She hath not seen the change of fourteen years; Let two more summers wither in their pride Ere may we think her ripe to be a joyful bride."
They also believed that fate was the cause of many incidents that occurred in people's lives: -
"A pair of star - crossed lovers take their lives."
Besides this, they also assumed that a person's emotions were controlled by different parts of their body. For example your spleen was where they believed your anger came from: -
"Could not take truce with the unruly spleen."
Act 3, Scene 1 is also revelatory with regards to the characters. Benvolio says to Mercutio that he thinks they should go home because he was worried a ...
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They also believed that fate was the cause of many incidents that occurred in people's lives: -
"A pair of star - crossed lovers take their lives."
Besides this, they also assumed that a person's emotions were controlled by different parts of their body. For example your spleen was where they believed your anger came from: -
"Could not take truce with the unruly spleen."
Act 3, Scene 1 is also revelatory with regards to the characters. Benvolio says to Mercutio that he thinks they should go home because he was worried a fight would be started between them and the Capulet's: -
"The day is hot, the Capulet's abroad ... For now these hot days, is the blood stirring."
When Benvolio says this, we as the audience get the impression that he is a peacekeeper because he doesn't want there to be a fight. However we see a different side to Benvolio in Act 1, Scene1: -
"Part fools, Put up your swords, you know not what you do."
Here he wants a fight and comes across as being quite aggressive.
Then in Act 3, Scene 1 Mercutio says to Benvolio: -
"Thou art like one of these fellows."
This is extremely ironic, because it's actually the other way round; Mercutio is the moody one.
Mercutio speaks mainly in prose within this scene as he is always talking about combating: -
"Could you not take some occasion without giving?"
So when people speak in prose they are usually only minor characters or if someone talks about something of a lowly nature, e.g. fighting, etc.
Mercutio uses various puns frequently and Shakespeare makes incredibly effective exploit of them. In Mercutio's speech at the start of Act 3: -
"Thy head hath been beaten as addle as an egg."
When Tybalt enters there is a swift exchange of speech: -
"By my head here come the Capulet's."
The structure of language changes to prose.
This is effectively dramatic because the audience get the idea that Mercutio is utterly ruthless, for the reason that even though Benvolio tells him to come away from the Capulet's he disinclines: -
"By my heel I care not."
Shakespeare also makes operative exercise of the puns in Mercutio's argument with Tybalt. The play on words are of music and fighting and we additionally get images of music as well: -
"...here's my fiddlestick, here's that shall make you dance: 'zounds consort."
Benvolio again is the peacemaker and tries to make them both stop. He also speaks in blank verse as he is talking about making harmony: -
"We talk here in the public haut of men: ... Or else depart, here all eyes gaze on us."
The dramatic tension surrounding this scene creates an emotional roller coaster for us, as the audience.
As we leave the end of Act 2 the atmosphere is quiet and serene because Romeo and Juliet have just been married.
As we enter Act 3, there is a converse of fighting between Benvolio and Mercutio. Then Tybalt pierces the scene and Mercutio challenges him to a brawl. This is a responsive twist from tranquillity and harmony to anger and frustration. Then just as rapidly as before there is another reversal in ardour as Romeo enters. The scene becomes calm once more. Shakespeare emphasises how Romeo changes the emotion within the scene from the fact that he speaks in blank verse, even though Mercutio and Tybalt are speaking in prose and Romeo has just entered.
Romeo is calm here and tries to make peace: -
"Tybalt, the reason that I have to love thee... therefore farewell, I see thou know'st me not."
We learn that Tybalt is very tenacious person, he does not want to give up on trying to fight Romeo: -
"Boy, this shall not excuse the injuries that you hast done to me, therefore turn and draw."
This scene also contains dramatic irony, because we as the audience know the real reason why Romeo doesn't want to fight Tybalt. Its because he's now related to him as he has married Juliet: -
"... Till thou shalt know the reason of my love, And so good Capulet, which name I tender as dearly as mine own, be satisfied."
The tension builds and the audience can sense that something is about to happen: -
"...O calm, dishonourable, ville submission."
When they are fighting and Mercutio is hurt and dying, Shakespeare uses more puns: -
"... Ask for me tomorrow and you shall find a grave man."
He talks about Tybalt being a cat and scratching him: -
"... Zounds a dog, a mouse, a cat, to scratch a man to death."
Shakespeare's language links to different parts of the play - for example Mercutio says Tybalt fights 'by the book': -
"... That fights by the book of arithmetic."
Also Juliet says Romeo kisses by the book in Act 1 Scene 5: -
"...You kiss by the book."
After Mercutio dies, the other characters talk of Mercutio as been brave and fine: -
"...O Romeo, Romeo brave Mercutio is dead, that gallant spirit hath aspir'd the clouds".
Again there is the reference to fate: -
"...This day's black fate."
When Tybalt enters afresh, the tension rises because Romeo starts to get angry and he refers to the villain as Mercutio's wound. This is personification: -
"...And fire and fury, be my conduct now. Now Tybalt take the villain back again."
After Tybalt dies and Romeo flees, Benvolio must tell the Prince what happened. He says that Romeo was fair due to the fact that he only attacked and killed Tybalt because he executed Mercutio: -
"Romeo that spake him fair."
We also acquire a knowledge and characterisation of Mercutio from Benvolio: -
"...At bold Mercutio's breast." "Of stout Mercutio"
All of Benvolio's speech is in blank verse showing the importance of what he is saying.
In conclusion to this, everything that happens within Act 3 Scene 1 is a consequence of what occurs later in the play.
For example if Tybalt had not killed Mercuto: -
"... Brave Mercutio is dead."
Romeo would not have killed Tybalt: -
"... And Tybalt slain."
Romeo would not of been banished: -
"Immediately do we exile him hence."
This would mean the whole tragedy of Romeo and Juliet may never of transpired into what it did.
This proves why Act 3 Scene 1 is a pivotal scene in the play.
