Tybalt is also portrayed as arrogant and aggressive, an antithesis to Benvolio. He commands Benvolio, to ‘look upon thy death’, implying that he is sure of himself winning and that Benvolio is inferior and will be easy to beat. This remark is both self-assuring to Tybalt and insulting to Benvolio. Further evidence of his arrogance is the way in which Tybalt insults Benvolio and treats him like a servant. He uses imperatives, commanding Benvolio to fight, whereas Benvolio nobly commands Tybalt to assist him, to ‘manage’ and restore order, as it is his duty as a nobleman to control the servants. Tybalt uses the pun ‘Hartless Hinds’ to explicitly offend the servants and implicitly offend Benvolio. The word hart means a male dear, and to be hartless would mean to be weak, or effeminate like a woman. The word hinds, then questions their masculinity even further as it means a female dear. Consequently, he insults Benvolio, as if calling him weak to fight women. Conversely, Benvolio only uses insults, for example ‘fools’, with the servant classes where that language is appropriate. The use of the word fools suggests that they are stupid for fighting in case of the Prince finding out and condemning them to death, and also suggests that Benvolio is opposed to fighting.
As Benvolio, in the end, gives in to fighting, the audience would feel critical of both characters. As noblemen, they would be expected only to fight when protecting something or someone. As they would have been educated in chivalry, violence would only be acceptable in a good cause, such as saving damsels in distress.
It is shortly after Tybalt and Benvolio commence fighting, that we are introduced to the older generation of Montagues and Capulets. These men, the father figures to Romeo and Juliet, would be the role models of the younger generation, and would be expected to set a good example of peace to their children. However, they create humour by acting childishly and trying to join in with the brawl. Is it any wonder that the younger generations of noblemen are violent and aggressive with parents like this? Evidence of how violent they are, is the quote ‘give me my long sword ho!’ No sooner has he entered on stage, that Lord Capulet is already calling for his sword to go and join in with the battle. Lord Montague also uses imperatives to indicate his stubbornness and eagerness to fight. They fight to defend their family honour against childish insults and threats.
Comedy is again induced when Lady Capulet mocks her husband, implying he is too old to fight and needs ‘a crutch’. It is intended merely o deter him from fighting, rather than to offend, but it is so explicit that it creates humour. It implies that both men are old and feeble and weak, which is ironic coming from a woman, as throughout the play they are portrayed by men as the weaker species. It is also ironic in the sense that it suggests the men should know better with the wisdom of age.
Scene one begins with bestial behaviour from most of the plays male characters. However it is not until Prince Escales has restored peace that Romeo enters. Changing the mood dramatically from aggression to melancholy. Blank verse as opposed to prose suggests he is a noble gentleman, opposed to violence.
Romeo’s mood casts a shadow over the whole stage so that it changes the mood of the play. Benvolio explains to Lord and Lady Montague that Romeo has been very depressed and unsociable lately. According to Lord Montague, he wishes to always be alone, as he ‘steals’ like a thief not wishing to be caught, and ‘private in his chamber pens himself’ as if to lock himself away from society. He is also described to be melancholy ‘with tears augmenting the fresh morning’s dew’. Shakespeare uses pathetic fallacy here: he describes the dew and clouds, symbols of sadness when describing Romeo’s mood. This is further evidence that he is miserable and reclusive.
This is typical behaviour for someone who is in love; however, Romeo seems confused about his feelings for Rosaline. He uses oxymorons, fashionable in Shakespeare’s day, to imply confusion. At the same time, he uses words expressing violence and war, for example ‘O brawling love, O loving hate’. Here we can link him to violence, and have evidence that he has violent potential, almost a prediction of future events. The fact that he uses blank verse to talk about his feelings for Rosaline suggests that he truly loves her, but the content of the conversation, him criticising her chastity, indicates that he is confused about the difference between love and lust: he is still very naïve.
Although Romeo is not stereotyped as lewd and aggressive, he does conform to the same pattern as many unrequited lovers in plays throughout history. His language is conventional, as he uses rhyming couplets and oxymorons ‘She hath forsworn love, and in that vow Do I live dead, that live to tell it now’. He speaks of love and how he feels dead and tortured without his love being requited, but such predictable language it seems that the words are insincere. Also, the imagery of war that Romeo uses, ‘and in strong proof of chastity’, and talking about religion ‘saint seducing gold’, gives an image of disrespect. He seems to think very selfishly and childishly because he treats Rosaline like ‘the enemy’ and gives up and sulks because he doesn’t get his way. His attitude also makes the reader feel disgusted when he uses crude images, for example ‘nor ope her lap to saint seducing gold’. This quote implies arrogance (that he sees himself as gold) or it could be even cruder, that it suggests Rosaline is a prostitute and the money he offers would tempt a saint. This also leads us to believe that he doesn’t truly love Rosaline.
The banquet scene in which Romeo and Juliet first meet is quite chaotic, and again full of antithesis. It begins as a normal party would with small talk and dancing, however, whilst people are enjoying the festivities are almost interrupted when Tybalt spots Romeo and threatens to disturb the merriment. His impulsive, provocative behaviour consequently results in an argument with his uncle, until he leaves the stage, leaving an air of tension and unease behind him. This atmosphere is soon relieved by Romeo’s reaction to Juliet. He refers to her as pure by comparing he to a dove, a symbol of purity. This he speaks of positively, but when talking about Rosaline’s chastity he spoke negatively. Immediately this suggests true love as he respects her virginity selflessly. The imagery Romeo uses referring to light as opposed to darkness in the first scene signifies that he is no longer naïve and can see past just good looks and see true beauty inside. It also suggests that it is more likely to be true love because now his words are full of hope rather than scorn.
Another contrast to his feelings towards Rosaline is the use of religious imagery. He uses metaphors comparing himself to a ‘pilgrim’ and Juliet a ‘saint’ and a ‘holy shrine’. This suggests that he respects and loves her unconditionally. ‘If I profane with this unworthiest hand, This holy shrine…’ suggests he has respect and reverence for her.
Romeo again proves his love for Juliet by selflessly risking his life for her. For example, the balcony scene where he risks the constant threat of intrusion from the Nurse, Lady Capulet or Tybalt. Whenever they are together they risk being caught and torn apart by their feuding families. Despite this, Romeo persues and aquires the assistance of Friar Lawrence and the Nurse to help his and Juliet’s love remain secret.
The use of the sonnet the two lovers share shows to the audience that they are united in the fact that they are isolated from their families’ feuding. It also has the effect of signifying their love for one another, as it is the traditional poetry of love, which society would approve of. Conversely, it is not very original, ironically suggesting that their love is not strong and will not last. This could be seen as an omen of their tragic demise.
Even in the midst of love, there are threats and omens of death and destruction. In Act 1: Scene 3, Romeo is troubled by a dream which foretells ‘some vile forfeit of untimely death’, already, the threat of death hinders the lovers. It is then in the banquet scene that Juliet predicts her own death, when she fears Romeo is already married. She quotes ‘my grave is like to be my wedding bed’ which is ironic as so soon after she is married, she is dead.
In Act 3:Scene 1 we see Romeo transform from the quiet non-violent gentleman into a hot headed murderer. This distinct change in character is not for long however, as he is immediately overcome with remorse and grief. But to understand why his temperament changes so radically, we must understand the events leading up to his duel with Tybalt, and what pre-empts him to act aggressively.
The scene begins with Mercutio and Benvolio arguing over meeting the Capulets. They are aware that Tybalt is livid about them trespassing at the Capulet party and that a fight is inevitable. Benvolio wishes to go home and avoid any confrontation, however Mercutio does not fear Tybalt and taunts him by twisting Tybalt’s every word into an insult. For example, Tybalt asks Mercutio if he ‘consortest with Romeo’, meaning does he associate with him. However, Mercutio replies ‘Consort? What, dost thou make us minstrels?’ meaning you call us common people. Despite these provocations, Tybalt refuses to fight Mercutio, as his enemy here is Romeo. He only challenged Romeo to a duel, to avenge the intrusion of the Capulet banquet because it was Romeo he saw talking to Juliet, and who his uncle defended rather than scorned.
Ironically, Romeo tries to avoid confrontation, but his need to pacify Tybalt causes a tragic chain of events. He knows that he cannot fight Tybalt because he is his family now that he has married Juliet, but to reveal this secret would outrage Tybalt further. Romeo tries to be civil, and replies to Tybalt’s challenges with words of love and compliments such as ‘good Capulet’. Even when Tybalt calls him a villain, an explicit insult which should have outraged Romeo, Romeo replies ‘I have to love thee’ and almost agrees that he is in the wrong. Unfortunately, these words of apology and affection cause ambiguity, and everyone, particularly Mercutio, interpret them as cowardice. This too is ironic, as in reality, Romeo is being honourable and brave by breaking with tradition that he must defend the family name. By refusing to fight, Romeo risks public disgrace and tarnishing his reputation.
Romeo tries to avoid fighting Tybalt because he is his kinsman. He is married to Juliet, and as Juliet’s cousin Tybalt is related to him. Ironically, Romeo faces public disgrace whatever he does. If he tries to ignore the obvious insults then his family name (Montague) and his reputation will suffer. However, to kill a kinsman is dishonourable, and so in killing Tybalt, he would not only be a murderer, he would also be disgracing his family (the Capulets).
Disgusted by Romeo’s submission, Mercutio challenges Tybalt, and fights him himself. Romeo calls upon Benvolio to help him stop the fight, but under Romeo’s arm, Tybalt stabs Mercutio, delivering a fatal blow. At the death of his best friend, Romeo loses all self-control and becomes reckless and irresponsible. However, is it all Romeo’s fault? If Mercutio had not been so impulsive, his death and Tybalt’s may have been avoided. If he had let Romeo make his own choices and not immediately jumped to the conclusion that Romeo was a coward then he would not have fought Tybalt and he wouldn’t have died, consequently sparing Tybalt’s life as Romeo would not have sought out revenge for his friend. Also, not only would the two deaths be avoided, but also reconciliation between the younger generations of the houses could have been achieved. If Mercutio had not interrupted, Tybalt may have realised that he needn’t fight Romeo and that his uncle’s judgement (’portly gentleman’) of Romeo was correct.
Upon the death of Mercutio, Romeo’s mood swings dramatically from calm and peaceful to aggressive and vengeful. Out of guilt and loyalty he slays Tybalt, much to the audiences astonishment. Romeo feels loyal to Mercutio as he is referred to as ‘gallant’ and ‘brave’. He also feels responsible for his death because he fought ‘in my behalf: my reputation stained with Tybalt’s slander’. This quote explains that Romeo is ashamed of himself because he caused Mercutio’s death by not fighting himself. He is also ashamed as, just because he is related to him, he let a Capulet ‘stain’ his reputation and the Montague name. He fights Tybalt in order to gain revenge for the demise of his friend and to defend his honour.
It is ironic that Romeo feels indebted towards Mercutio, when it was Mercutio’s fault that the brawl started. Although Tybalt posted the challenge, it was Mercutio who forced Tybalt into aggression, as Tybalt tried to avoid the confrontation when he says ‘peace be with you, sir,’ to Mercutio.
On his death, Mercutio curses both houses repeatedly ‘a plague a’both your houses’, suggesting he is bitter about death and blame everyone but himself for his downfall. Ironically, the curses work as both Romeo and Juliet die at the end of the play. It also reflects the senselessness of the feuds, as the fight began over something as pointless as gate crashing a party, and was blown completely out of proportion with pathetic insults, such as ‘villain’ and ‘coward’. This means that the deaths of Romeo, Mercutio, Juliet and Tybalt were all a complete unjustifiable waste of life.
Act 3:Scene 1 is a pivotal scene, which contrasts strongly with the one which precedes it. In the final scene of Act 2 Romeo and Juliet are married, and words of happiness and hope are shared between the two young lovers. However, this scene contains insults and violence and hatred from both houses. It is evident that Shakespeare uses these contrasting scenes to show how human emotions can contrast, as ‘Romeo and Juliet’ is a play about human nature.
Previously, we have seen that Romeo is an exception to the stereotype that all men are aggressive. However, in this scene Romeo almost succumbs to temptation, slaying Tybalt with ‘fire eyed fury’, but he feels extreme remorse almost instantly. The word ‘fool’ is used in this scene because Romeo realises he is stupid for fighting, similar to the way Benvolio uses it to describe the servants in the opening scene. However, Romeo calls himself ‘fortune’s fool’ as he feels that destiny is against him, which it is for the whole of the play.
Throughout the play it is evident that male characters are stereotyped as mainly violent, but also many characters have evidence of being crude. However, the question to ask is why do men act like this? It is most likely that Elizabethan society had misinterpreted what honourable behaviour was. Chivalry, we would expect, was concerned with fighting and physical sacrifice to defend the freedom and safety of others, or in other words a worthwhile cause. However, society seemed to take the subject of family honour and reputation too seriously, and in situations where there was no actual offence made, a fight would break out. This happens frequently throughout the play, for example Tybalt’s anger at Romeo’s presence at the Capulet party. Romeo meant no harm, he was just trying to enjoy himself, but Tybalt went over the top, feeling humiliated that a Montague had dared show his face there. Another example would be Mercutio’s challenge to Tybalt, when he deliberately misconstrues Tybalt’s words to be insults and starts a savage fight that results in two deaths, including his own.
Shakespeare uses this play as a display of human nature, using contrasting emotions which humans are capable of feeling. But does he also use it to condemn certain aspects of human nature, such as society’s interpretation of honour. For example, do aggressive characters die prematurely to symbolise that violence is destructive and no good will come of it. This is certainly the case in the deaths of Mercutio and Tybalt. They both conformed to the stereotype quite obviously, and both of them died quite early on in the play. Mercutio felt bitter at his demise, because it was unfair, suggesting that it was not to achieve a moral message, but merely to spark the chain of events that lead to the plays tragic ending. Also Tybalt’s death is not dwelled upon, it is referred to as just a stage direction. He was there just to serve a purpose, like Mercutio, and instigate tragedy. Shakespeare could have done this in order to imply that because they are destructive and spill the blood of God’s creations that all they deserve is to be used like tools to instigate the main events of the play.
Contradictorily, Romeo’s death brings about the reconciliation of the Montague and Capulet houses. Both sets of parents have sacrificed their only children to the feud, only to realise that violence and hatred are destructive and don’t generate any positive outcomes. Even Prince Escales says ‘a scourge is laid upon your hate’, implying that this is their punishment for their violent and scornful behaviour. The Prince quotes that ‘For never was a story of more woe’, suggesting that the deaths of Romeo and Juliet are truly tragic. Romeo’s single act of violence results in a chain of horrific events culminating in his death, which he chooses in order to be reunited with his Juliet. He sees this as a positive thing, unlike the deaths of Tybalt and Mercutio, which we can applaud because they received their punishment for violent behaviour. However Romeo was not a violent person, except for one moment. This is why the audience mourns his death, because he and Juliet were innocents, caught up in a web of hatred and aggression.
Whether or not the play was written in order to condemn violence, and to show that violent characters will suffer inevitably is open to debate. However, I believe that it was written to reflect the faults and indiscretions of Elizabethan society, particularly its view of honour and that violence and petty feuds were to frequent.
