Costume
How is costume important in this play, especially in versions you have seen? Look at how costume distinguishes Capulet from Montague (shows who is who). How does Zeffirelli use costume effectively to show the change in mood in this scene?
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Language
There is too much interesting language in the scene to cover in this short guide, which will give a selection of interesting features of language, but expect to look at other things with your teacher.
Verse and prose
Often in this play Mercutio speaks in prose. This is a mark of informality, but not of low social class - Hamlet, Theseus and Prince Hal (in three other plays) as well as Mercutio are all from royal families yet all sometimes speak in prose. Speaking in prose shows their attitude to the situation they are in or the person they are addressing.
In this scene various characters speak in prose, but after Mercutio's death the more serious mood is shown as characters all speak in blank (unrhymed) verse. This is kept up until the end of the scene, where Benvolio, Lady Capulet, Montague and the Prince all speak in rhyming verse (Benvolio drops the rhyme in the middle of his long narrative). Comment on the effect this has on the audience.
Language use for dramatic effect
Look at how the enemies try to win the verbal battle. Explain how Mercutio tries to upset Tybalt in various ways. First, he plays on his name (“ratcatcher…King of cats...nine lives”). He ridicules (he has also done this in an earlier scene) Tybalt's supposed skill in fencing (“Alla stoccata…Come, sir, your passado”).
Look at attitudes to social class. Why does Tybalt call Romeo a “villain” and why does Romeo deny this? He also refers to Romeo as “my man”, and Mercutio challenges this. Why? Comment on the word “gentlemen” which appears several times, and “sir”. Explain why Tybalt calls Romeo “boy” more than once in this scene. Look at the form of the second person pronoun. See whether people call each other “you” (formal) or “thou/thee” (also “thy” = your) which is informal (less respectful). Tybalt usually calls Mercutio “you” but changes to “thou” when he accuses him of “consorting” with Romeo. Why?
If you are puzzled by this, be aware that language use has changed since Shakespeare's time. A villain in earlier times was a common person - so the name, applied to a nobleman like Romeo, would be an insult. In calling him my man Tybalt speaks of him as if he were a servant - which is why Mercutio says he won't “wear” Tybalt's “livery” the uniform of his servant). The 16th century audience would understand this as they heard it - today it needs spelling out.
What is the effect of Mercutio's response to Tybalt's request for a “word” - “Couple it with something; make it a word and a blow”? Note also Mercutio's last words: “A plague” is a powerful curse in Verona (the plague is in the city) and Shakespeare's audience would find it effective.
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Language use for poetic and figurative effect
This very active scene is not the best place to look for good poetry (we find this in the scene where the lovers meet, or the balcony scene or even in Mercutio's description of “Queen Mab”).
For figurative language we need only look at Mercutio's “fiddlestick” - what is a real fiddlestick and what has he instead? A more powerful poetic image is found in Romeo's challenge to Tybalt:
“...for Mercutio's soul
Is but a little way above our heads,
Staying for thine to keep him company
Either thou, or I, or both must go with him.”
Explain this image and its effect on the audience.
Perhaps the most powerful (and famous) poetic image is in Romeo's last words in the scene, where he says he is "fortune's fool". What does he mean by this? What is its effect on the audience?
Benvolio gives a convincing account of the fighting, contrasting Tybalt's and Mercutio's aggression with Romeo's attempts at peace. We see why Lady Capulet disbelieves him, but he tells the truth. Comment on the audience's response here:
- we know Benvolio is truthful
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we know why Lady Capulet disputes his account
-
we know why what she says might seem plausible (believable)
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we know that the Prince knows Tybalt's character, as reported by Benvolio
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Patterns and details of words and images
This scene (like this whole play) has lots of patterns and wordplay. Much of it is from Mercutio. See for example his claim that Benvolio (a very peaceful person) would quarrel with a man for “cracking nuts” as he (Benvolio) has “hazel eyes”.
A more developed series of jokes is in his response to Tybalt's claim that he “consortest” with Romeo. This is the cue for a series of puns about music (“minstrels” and “dance” leading to “fiddlestick”).
Another series of jokes comes when Mercutio is wounded: first he is sarcastic (his wound is not as “deep as a well” or “wide as a church door” but quite enough to kill him) then he makes a bad pun (“grave man”). Finally, he lists animals to insult his killer: “A dog, a rat, a mouse, a cat, to scratch a man to death”.
A more elaborate pattern is found in Tybalt's challenge to Romeo and Romeo's replies. Earlier in the play we have heard Romeo take up others' words (Benvolio's or Mercutio's) and answer them with a slightly changed version. When Tybalt sarcastically says “the love I bear thee” (no love at all) Romeo responds with “the reason that I have to love thee”, while “Thou art a villain” becomes “villain am I none”. “Boy, this shall not excuse the injuries...” is met with “I do protest I never injur'd thee”. Finally the direct challenge: “Therefore turn and draw” is countered with “And so…be satisfied”.
In explaining the effect of this scene on the audience, you are encouraged to refer to any versions of the play in performance that you have seen. How particular directors or actors interpret it may be helpful. Make sure you present this work in an appropriate written or spoken format.
Summary
Mercutio and Benvolio are in the public square of the city. Benvolio suggests that they go home since the Capulets are likely to encounter them. Mercutio is always ready for a fight and accuses Benvolio of being too peace loving.
True to Benvolio's prediction, Tybalt and his attendants arrive on the scene. Tybalt wants to know Romeo's whereabouts as he has not replied to his letter of challenge. Mercutio mocks him and draws his sword. Just then, Romeo arrives. Tybalt calls Romeo a villain. Romeo, fresh from his marriage to Juliet, informs him that reasons of love prevent him from fighting, but he denies that he is a villain. Tybalt again invites Romeo to a fight, and Romeo refuses. Because he has married Juliet, he now loves all the Capulets. Mercutio finds Romeo's submission dishonorable and draws his sword. He dares Tybalt to fight him, and the duel begins. Romeo tries to stop the fight. In the confusion that follows, Tybalt wounds Mercutio. Tybalt and his men flee from the scene , and Mercutio dies.
When Tybalt returns, Romeo discards his softness, calls Tybalt a villain, and challenges him to fight to the death. When they fight, Romeo kills Tybalt. As the citizens attempt to arrest Romeo, Benvolio bids him to flee and he rushes off.
The Prince arrives with his attendants followed by Montagues and Capulets. Benvolio informs him that Tybalt killed Mercutio and, in turn, Romeo has slain the murderer. Lady Capulet breaks out in loud lamentations over the death of her beloved nephew and demands that Romeo be put to death. The Prince, paying no attention to her, asks for details of the affair from Benvolio. Benvolio states that Romeo was unwilling to fight and frames Tybalt as the aggressor. Lady Capulet again demands the death of Romeo. Montague takes Romeo's side saying that Romeo is justified in avenging the death of Mercutio, his friend. The Prince then announces his decision. Romeo is now an exile from Verona, and each of the families is heavily fined. He also states that if Romeo is found in the city, he will be immediately put to death.
Notes
This scene is characterized by rapidity of action and varied moods. It marks the crisis of the play with the deaths of Mercutio and Tybalt and the banishment of Romeo. Although Romeo has married Juliet, he is now unable to stay with her in Verona. The fate of the lovers has taken a grievous turn.
Benvolio's advice to Mercutio that they go home was sound advice since the Capulets are out and about; unfortunately the advice falls on deaf ears. Soon Tybalt arrives on the scene looking for Romeo, and the two hotheaded characters, Mercutio and Tybalt, are eager for a fight. Romeo arrives on the scene, fresh from his marriage to Juliet and aglow with love. Tybalt calls him a villain, but Romeo refuses to fight him. Instead, he tells Tybalt that he loves all Capulets (who are now his relatives by marriage). Mercutio, ashamed of Romeo's submission, challenges Tybalt to fight with him. The duel begins with Romeo trying to make peace. His pleas are to no avail, and Mercutio is mortally wounded in the fight. Romeo, bound by honor, has no alternative but to avenge his dead friend and fight with Tybalt, even though he knows it will sadden his wife. In the fight that follows, Tybalt is killed at the hands of Romeo. The Prince arrives on the scene and demands explanation about the incidents. He then punishes Romeo by exiling him from Verona and heavily fines both families.
Throughout this scene, the characters, except for the changed Romeo, behave typically. It is Tybalt's hot temper and aggressiveness that is responsible for precipitating the crisis. He is out in the streets looking for a fight, particularly with Romeo. When Romeo refuses to rise to Tybalt's challenge, Tybalt eagerly enters the fight with Mercutio. Mercutio is again pictured as being combative and verbal. Just before his death, Mercutio's sharp and brilliant wit again comes to the forefront; as he dies, he jokes about his wound. His chief regret is that Tybalt, his bitter enemy, has escaped unhurt, and he blames Romeo for interfering. Mercutio dies cursing the two families. "A plague on both your houses!" This curse is quickly to come to pass in the deaths of Romeo and Juliet.
Lady Capulet also behaves typically. She is all excitement and fury and immediately demands the death of Romeo in revenge for her nephew's murder; ironically Romeo, unknown to her, is now Lady Capulet's son-in-law. In contrast to her rashness, the prince's judgment appears to be sound and free from personal vengeance. He knows that the Capulets are sufficiently punished in the death of their nephew and the Montagues are punished by the loss of Romeo to exile. Paris desperately wants peace in his city; little does he know that it will take the deaths of two more innocents to bring about the peace.
