Shakespeare sets III i, in a public place. He establishes at the start of the scene that “The day is hot, the capels are abroad.”
Mercutio is in an argumentative mood and irritable because of the heat. He makes accusations that are apparent nonsense, that Benvolio is a troublemaker. “Thou art like one of these fellows that when he enters the confines of a tavern, claps me his sword upon the table.”
We know that this isn’t true as Benvolio is a peacemaker.
“I do but keep the peace.”
Mercuito is looking for a fight. Benvolio states “For these hot days, is the mad blood stirring.”
Tybalt enters accompanied by other Capulets; he is looking for a “boy” ( Mercutio picks up on this and finds it offensive, he uses it as a means of challenging Tybalt.) called Romeo, because he wants revenge for the humiliation Romeo had caused him.
Mercutio attempts to distract and argue with Tybalt as he is trying to protect Romeo. He deliberately misunderstands Tybalt saying “consortest” meaning to go around with, and he hears it as “consort” meaning a group of musicians. Mercutio deliberately carries on with the “consort” theory. When Romeo enters into the scene he is happily in love as he has just married Juliet. “Good Capulet, which name I tender as dearly as my own, be satisfied.” Mercuito is enraged by Romeo’s reluctance to draw swords with Tybalt.
“O calm, dishonourable, vile submission!” He is incensed at this apparent cowardice and challenges Tybalt.
Mercutio calls Tybalt “rat-catcher”. Mercutio is referring to Tybalt’s name, which in the story of Reynard the fox was that of the cat (similar to the modern ‘Tibby’). Tybalt is humiliated just as Romeo humiliated him. They fight.
Romeo tries to stop Mercutio and Tybalt fighting and in the confusion Mercutio receives a fatal stab wound. When Mercutio is wounded under Romeo’s arm everyone thinks he is jesting. “Ask for me tomorrow, and you shall find me a grave man.” This has two interpretations a serious man (not a joker as previously) or buried in a grave.
In Shakespeare’s play Mercutio is taken off scene and then dies, but in Zefferelli’s interpretation of the play Mercutio gives a performance climbing up steps and tragically falling down. Mercutio dies in Romeo’s arms with the haunting curse
“a plague a both your houses!” Everyone thinks it is a performance.
When Tybalt returns, Romeo feels that he must fight Tybalt to avenge his friend Mercutio and to prove that his love for Juliet has not softened him. Both things give his fighting a power that is enough to beat Tybalt, yet even as Tybalt dies he realises the consequences of what he has done, “O I am fortune’s fool!” he immediately declares.
In Zefferelli’s film Romeo comes looking for Tybalt, I think that this is effective because this shows the anger and determination of Romeo. In Shakespeare Tybalt returns to see Mercutio, this affects Tybalt as he is suppose to hate the Montagues.
Although we know that Romeo and Juliet are fated to die, we still hope against hope that the workings of fate might be thwarted and time and again we are disappointed. This is one of those occasions, just when everything is going so well, Romeo is caught up against his will in a series of events that shatter the happiness.
Romeo is drawn into the fight much against his will. His marriage to Juliet has, in fact started the reconciliation process between the two families. But a far more basic instinct, the desire of a man to avoid being thought a coward prevails and Romeo is driven to fight Tybalt.
I prefer Zefferelli’s interpretation rather than Shakespeare’s as it contains more space to run about and there is more action. Shakespeare’s play was limited to a theatre stage; Zefferelli’s film moves through Verona’s streets.
In conclusion, the deaths the two of the main characters have a great impact on the rest of the story. Romeo is banished and Juliet’s parents decide that her wedding with Paris should be arranged as soon as possible. This makes the play more effective and dramatic.
