Shakespeare’s ability to manipulate language for effect allows us to see how dramatic this scene is without even having to think about the storyline. Shakespeare uses a variety of techniques to create suspense and tension within the scene. At the beginning of the scene, when Benvolio and Mercutio are out walking, Benvolio first speech already suggests that something terrible could happen, saying, “The day is hot, the Capels are abroad,”. When people are hot they get irritable, so instead of just setting the scene, Shakespeare is using the climatic conditions to reveal that there is tension among the characters. More obvious is Benvolio’s clue about “the Capels are abroad”, which shows that he is worried about what could happen, and with Benvolio being a level headed, fair, and truthful person, the audience or reader will now be worried too because they will follow what he says.
Shakespeare also uses the character Mercutio as a ‘tool’ to demonstrate how he can manipulate language for effect. Firstly, Mercutio’s name itself means ‘mercurial’, a word which means ‘mood is changeable’. This suggests that whenever Mercutio is around anything could happen. He is only in four scenes throughout the play, Act 3 Scene I, but also Act 1 Scene IV, Act 2 Scene I and Act 2 Scene IV. In Act 1 Scene IV, Mercutio changes the mood of Romeo an persuades him to come to the party; in Act 2 Scene I the group of friends, including Mercutio, see Romeo jumping over the orchard wall to get to Juliet; and in Act 2 Scene IV Mercutio comments on how Romeo’s mood is now “sociable” and not “groaning for love”. In Act 3 Scene I, Mercutio changes the mood from the friendly teasing of Benvolio, to an argument with Tybalt which results in Tybalt’s and Mercutio’s deaths. His presence and the consequences of his actions also change Romeo’s mood from wanting to love Tybalt and be at peace with him, to wanting to kill him. The way that Shakespeare has also formatted Mercutio’s speech as prose in stead of iambic pentameter, suggests that the mood of the scene could be changeable. It also suggests something about Mercutio’s character, because in plays from Shakespeare’s time, people who spoke in prose could be considered as clever and witty, but also verging on madness at the same time, leading the audience or reader to believe that Mercutio could be disruptive to peace and cause a tense atmosphere.
Shakespeare also uses several grammatical techniques to create a dramatic atmosphere in the scene. Firstly, his use of Mercutio’s character creates tension leading up to the fight. Instead of fighting with swords, Mercutio is known for his wit and the ability to pick out words and build on different meanings of them:
“And but a word with one of us? Couple it….”
“Consort! What, dost thou make us minstrels?...Here’s my fiddle-stick; here’s that shall make you dance.”
In the first example, Mercutio has picked up on Tybalt’s use of the word “one” in “A word with one of you.” and even starts talking about coupling the “one” thing with something else. In the second example, he uses Tybalt’s word “consort” from “Mercutio, thou consort’st with Romeo”, meaning ‘being friends formally’, and uses it in the way meaning a ‘strolling musician’. This technique is greatly annoying and Mercutio would use it to try and test Tybalt’s temper. The reader would notice how irritating this would be and the tension would mount, so that it is evident that something dramatic is going to happen.
Aside from using Mercutio to demonstrate the dramatic significance of the scene through the manipulation of language, Shakespeare also uses grammatical techniques with his other characters. He shows how the mood changes so suddenly with the contrast between the hot day at the beginning of the scene, described by Benvolio, and the way Benvolio says “reason coldly of your grievances”. There is also a contrast between Romeo’s speech and what Tybalt is saying. Romeo tries to make peace with Tybalt and uses phrases such as:
“I do protest I never injur’d thee,
But love thee better than thou canst devise,”
whereas Tybalt uses hatful phrases such as “thou art a villain” and
“Boy, this shall not excuse the injuries
That thou hast done me.”
The contrast shows the fine line between love and hat competing and this causes suspense as to which of the two emotions will win. Another grammar technique that is used is where Mercutio is dying and repeats, “A plague o’ both your houses” three times, on lines 90, 98-99, and 106. This accentuates the curse that he is placing on them, and he even repeats it in a shortened form as he is being carried away, just saying, “Your houses!” This creates more suspense and because they are the last words we hear Mercutio say, we think that his curse alters the course of the story. Rhyming couplets are also used by Shakespeare. In lines 142-145, Benvolio speaks in rhyming couplets, for example:
“O noble Prince, I can discover all
The unlucky manage of this fatal brawl.”
It is used to emphasise this short speech because he is speaking truthfully and it is a summary of what has happened so it sticks in the reader’s head. Therefore, when something terrible happens later in the play, the reader’s mind is cast back to this memorable speech. The same applies to Prince Escalus’ speech from line 186-197. He also uses rhyming couplets, for example:
“But I’ll amerce you with so strong a fine
That you shall all repent the loss of mine.”
Shakespeare uses rhyming couplets in this case so that we remember that Romeo has been exiled from the city and if he returns he will be killed. So, when Romeo returns to the city later on in the play, we will remember what Prince Escalus said, and the dramatic tension will already have been built up.
