Benvolio retorts that Mercutio is no better, “an I were so apt to quarrel as thou art any man would buy the fee simple of my life for an hour and a quarter”
Thus the picture is drawn of two men who love a brawl and do not hesitate to enter into one, especially if they are against the hated Capulets. Although not a Montague, Mercutio, kinsman of the Prince, is a friend of Romeo, a Montague.
The rival gang – the Capulets, appear on the scene – spoiling for a fight. Tybalt, nephew to Lady Capulet, is among them. He has already announced to Benvolio of peace that he “hates the word,’ as he hates “hell, all Montague’s, and thee”. This is clearly not a man to be reasoned with. Having discovered Romeo’s appearance at the masked ball, he is out for blood “this intrusion shall now seeming sweet convert to bitter gall”.
At this stage, with the protestors clearly poised for a fight, the audience is not sure on which side they are. Both sides seem equally aggressive, who has the right? What, after all, is the argument? What is this, other than a common or garden street brawl between rival gangs? They are probably agreeing with Benvolio, who urges them to get out of “the public haunt of men” and stay out of trouble with the Authorities.
At this point, Romeo, one of the star crossed lovers, attempts to help the situation. He is in love, he feels a connection to Tybalt, as a relation of Juliet, the old hatred has been diluted. Tybalt is almost family to him now. “The reason I have to love thee doth much excuse the appertaining rage to such a greeting” Of course, neither Tybalt or Mercutio are aware of this. Mercutio is furious “Oh calm, dishonourable, vile, submission”. Why doesn’t Romeo get stuck in with the rest of the Montague’s? He is letting the side down. The audience is aware of Romeos ambivalence.
Mercutio and Tybalt fight. Because of Romeos attempt to stop the fight, Mercutio is slain.
His dying cry “A plague on both your houses”, must have struck a cold chord with the Elizabethan audience, riven as they were with religious strife and civil unrest.
Now Romeo’s passivity is gone – how could he have stood by, while his friend was killed, defending his own honour? “Oh sweet Juliet, thy beauty hath made me effeminate!”
The full impact of Mercutio’s death falls upon him. He speaks prophetically, “ This days black fate on more days doth depend, this but begins the woes others must end”
At this point the audience is informed in no uncertain terms that there will be no happy ending. The clues had already been there with “ star crossed lovers” .Now it is clear that this is a tragedy, and the killing of Tybalt, who returns to the scene, bent on continuing the fight, spells out, in bloody, revengeful violence, that Romeo is indeed “Fortunes Fool”. He had wanted to try peace, “respective leniety”, but the death of his friend Mercutio had changed all that forever.
From this point there is an awful inevitability about the unfolding tragedy. At the beginning of the scene, the audience is neither for nor against either side – now, sympathy is with Romeo. He did not want to be in this situation. When Tybalt wanted to fight, he “spoke him fair”. But Tybalt, as Benvolio relates to the Prince, was “deaf to peace”. It was not his fault. When Mercutio was killed, he could no longer stand by.
Honour and revenge have meant that his life must change inexorably. He wanted only to love and be loved. Now he is to be exiled and hated. How can the audience feel anything but sympathy for him?
Tybalt is dead. Mercutio is dead. Romeo is banished. The prince has no choice , he cannot pardon those that kill. The scene is set for the ensuing tragedy.
The audience have their collective hankies out.
