Here, Benvolio is trying to persuade Mercutio to leave the streets of Verona.
“Benvolio: I pray thee, good Mercutio, let’s retire:
The day is hot, the Capels are abroad,
And, if we meet, we shall not ‘scape a brawl,
For now, these hot days, is the mad blood stirring.”
Benvolio is aware that a combination of the hot weather and Mercutio’s hot temperament may lead to trouble with the Capulets. The language used by Benvolio here is peaceful and he wishes not to argue with Mercutio, but to merely leave and avoid trouble. Mercutio sees this as an opportunity for humorous argument with Benvolio, as he usually does,
“Mercutio: Come, come, thou art as hot as a jack in thy mood
as any in Italy; and as soon moved to be moody, and as
soon moody to be moved”.
The language here is of a comedic and slightly provoking style. Mercutio then tries to convince Benvolio that he is the one who usually starts the arguments.
“Mercutio: …Thou wilt
quarrel with a man for cracking nuts, having no
other reason but because thou hast hazel eyes…
Thou hast quarrelled with a man for coughing in the street,
because he hath wakened thy dog that hath lain
asleep in the sun…”
This shows us Mercutio’s blatant disregard for the truth just so he can argue and provoke other people. Also, these statements are ironic, as at this point the audience know that it is Mercutio who wishes to quarrel and not Benvolio.
After Benvolio and Mercutio’s small argument, true to Benvolio’s prediction, Tybalt and other Capulet’s arrive. Tybalt asks for Romeo, but as Mercutio is a character who would not turn down a chance to anger a Capulet, he chooses to deliberately provoke Tybalt by being his usual, quick-witted self and he challenges Tybalt to fight.
“Tybalt: … Gentlemen, good e’en! A word with one of you.
Mercutio: And but one word with one of us? Couple it with
something; make it a word and a blow.”
This is the start of the slow build up to the dramatic high point in the play. Shakespeare also shows how the conversation between Mercutio and Tybalt is getting less friendly from the way the language is used when they talk to each other, from “you” to “thou”. In Shakespearian times, it was ruder to address someone as “thou” then as “you”. Unusually Tybalt refuses to fight with Mercutio at this moment. Instead he wishes peace upon Mercutio when Romeo, the man he is looking for, enters the scene.
“ Enter Romeo
Tybalt: Well, peace be with you, sir. Here comes my man.”
Again this is unusual for Tybalt to be so peaceful, but we soon find out he is saving his hatred for Romeo as he feels Romeo has been dishonourable towards him by being present at the Capulet’s festivity.
Romeo enters the scene in a happy mood as he has just got married to Juliet. As soon as he arrives Tybalt verbally attack him. Shakespeare creates a sense of dramatic irony here because the audience know that Romeo and Juliet are now married, but Mercutio and Tybalt do not know this.
“Tybalt: Romeo, the love I bear thee can afford no better term than this – thou art a villain.”
The word villain means peasant, and should have come as a great insult to a man of noble birth like Romeo. But instead of retaliating with another insult, Romeo must treat Tybalt with respect as they are now cousins. Instead Romeo tries to assuage Tybalt’s hateful view of him.
“Romeo: Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
To such a greeting. Villain I am none.
Therefore farewell; I see thou know’st me not.”
For some reason Romeo chooses not to come out and tell Tybalt the reason he wishes not to fight is because he is married to Juliet, Tybalt’s cousin. I think the reason Shakespeare chose not to allow Romeo to tell Tybalt that they are now family, is because if Romeo did tell Tybalt, then the fighting would stop, the family feuding would be resolved and the play would more likely be over. So instead he allows Romeo to disguise his marriage, to heighten the drama and tension in the scene, and eventually, to allow the characters of Mercutio and Tybalt to be killed.
Again Tybalt replies with a statement designed to insult and undermine Romeo. Tybalt now also challenges Romeo to draw his sword and duel.
“Tybalt: Boy, this shall not excuse the injuries
That thou hast done to me. Therefore turn and draw.”
The language here is again, fierce and fiery and is used by Shakespeare to emphasise the importance of the scene, and accentuates the message, Violence leads to the destruction of love and life, that Shakespeare is portraying. Tybalt calls Romeo “Boy”, this could mean that Romeo is younger than him, but it could also show us how little respect he has for Romeo. Again Romeo responds by trying to appease Tybalt.
“Romeo: I do protest I never injur’d thee,
But love thee better than thou canst devise,
Till thou shalt know the reason of my love:
And so, good Capulet, which name I tender
As dearly as my own, be satisfied.”
The dramatic irony is shown with Mercutio’s lack of knowledge upon the situation. He does not know that the reason for Romeo’s politeness towards Tybalt, is an act triggered by the love between Romeo and Juliet. Instead Mercutio sees this as a weakness and thinks that Romeo is being cowardly and is opposing the “Honour Code” of the sixteenth and seventeenth century, as does Tybalt. So to reconcile Romeo’s pride and honour, Mercutio draws his sword in place of Romeo, and challenges Tybalt to duel.
“Mercutio: O calm, dishonourable, vile submission!
Alla stoccata carries it away.
[Draws his sword].
Tybalt, you rat-catcher, will you walk?”
Here, Shakespeare shows Mercutio’s obvious disappointment to Romeo’s refusal to duel by using a list of three. This emphasises Mercutio’s anger. The verbal fight between Mercutio and Tybalt has now escalated, as Mercutio wished, to a physical duel, when Mercutio draws his sword and challenges Tybalt. Tybalt willingly accepts probably due to the constant provocative, offensive slander he had to endure from Mercutio previous to Romeo’s arrival, but also because he is a violent, fiery tempered person who finds it hard to deny a challenge, and he is eager to fight, after Romeo refuses to battle.
To Romeo’s consternation, Mercutio and Tybalt engage in a sword duel. Romeo attempts to stop the duelling men, and calls for Benvolio to help him “beat down their weapons”.
“Romeo: Draw, Benvolio; beat down their weapons.
Gentlemen, for shame, forbear this outrage!
Tybalt, Mercutio, the prince expressly hath
Forbidden bandying in Verona streets:
Hold Tybalt, good Mercutio!”
Romeo tries to make Mercutio and Tybalt think of the consequences and heavy retribution they will be subjected to if the Prince was to find out about their duel. Tybalt, entranced in battle, ignores Romeo’s warnings and, under Romeo’s arm, mortally wounds Mercutio.
“Tybalt under Romeo’s arm stabs Mercutio and flies with his followers.”
Mercutio carries on with humour, even though he is dying.
“Mercutio: Ay, ay, a scratch, a scratch; marry, ‘tis enough.
Where is my page? Go, villain, fetch a surgeon.”
Mercutio is acting like his usual self, even when he realises that the wound is actually more than a scratch he continues to joke.
“Mercutio: …ask for me tomorrow, and you shall find me a grave man…”
Shakespeare makes this the last comedic reference in the play, after this scene, the play turns into a real tragedy. The first words on Mercutio’s lips when he is wounded are: “A plague o’ both your houses!” This shows us that Mercutio blames his death on the Montagues and the Capulets feuding, so he curses the families with death. This is also foreshadowing the final events of the play, where the child of each “Head of the Household” dies, these being Romeo and Juliet. By allowing Mercutio to prophesise the ending of the play, leads me to believe that Mercutio is one of the most important characters in this scene, if not the entire play.
Mercutio’s death has a severe effect on Romeo, as they were best friends. Romeo now changes from loving Tybalt, to wanting to kill Tybalt. This shows us how violence can destroy love and life, which is Shakespeare’s main message in this play. The death of Mercutio makes Romeo forget about his love for and marriage to Juliet. Romeo feels guilty for the death of Mercutio, as Mercutio partially blames Romeo for his death. “A plague o’ both your houses!” Romeo is now content on avenging Mercutio’s death.
“Romeo: This gentleman, the prince's near ally,
My very friend, hath got his mortal hurt
In my behalf; my reputation stain'd
With Tybalt's slander, Tybalt, that an hour
Hath been my kinsman. O sweet Juliet,
Thy beauty hath made me effeminate,
And in my temper soften'd valour's steel!”
In this scene Romeo has been almost destroyed mentally, and he thinks that being with Juliet has made him feminine, and therefore not able to fight for himself. It is here that Romeo decides that Tybalt is to blame for Mercutio’s death and for the staining of his reputation. We can see that Romeo is shattered by Mercutio’s death, and his ability to make sensible choices and decisions has been clouded by hatred and anger for Tybalt. Unknowing of Romeo’s breakdown, Tybalt arrives back at the place of the fight only to end up being killed by Romeo, who is fuelled with furious, vengeful rage.
“Romeo: Alive in triumph, and Mercutio slain!
Away to heaven, respective lenity,
And fire-eyed fury be my conduct now!
Re-enter Tybalt
Now, Tybalt, take the ‘villain’ back again,
That late thou gav’st me; 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.
Tybalt: Thou wretched boy, that didst consort him here, shalt with him hence.
Romeo: This shall determine that.
[They fight: Tybalt falls.]”
A language technique used by Shakespeare in the above quote is alliteration. “…fire-eyed fury…”Alliteration here emphasises the anger within Romeo.
It is clear that the two men are both fighting with intent to kill each other. Romeo fights for honour and vengeance. Whereas Tybalt is only fighting over a small personal issue, (the fact that Romeo was at the Capulet Party). Romeo slays Tybalt in a rage induced by vengeance, but the main driving force behind Romeo’s fury to kill Tybalt is Mercutio’s death. After slaying Tybalt, Romeo realizes that he has done wrong and shows his regret by yelling:
"Romeo: O! I am Fortune's fool!"
By doing this he is maintaining Shakespeare's controlling theme of fate and showing that Romeo is not responsible for his own actions. Romeo feels that he is the puppet being played with by the cruel puppeteer, Fate. Fate is toying with Romeo and using him for his own amusement, firstly he makes Romeo feel happy and injects Romeo with a blinding love for a girl from the wrong family. Then he causes all the happiness to be replaced by tormenting distress and the deaths of family and friends at the pull of a string.
Despite the 'honour code' of the time and the want to avenge the death of his friend, I do not believe that Romeo should have killed Tybalt. Firstly, I believe that it is wrong to murder someone and cause the family of the slain person to be inflicted with such vast levels of grief that always come from a death. Secondly, Romeo was married to Juliet (this makes Tybalt his relative as well as hers) and is therefore going to cause her emotional distress.
Benvolio is introduced to warn Romeo of the consequences of his actions if the Prince finds him.
“Benvolio: Romeo, away, be gone!
The citizens are up, and Tybalt slain.
Stand not amazed: the prince will doom thee death,
if thou art taken: hence, be gone, away!”
Shakespeare uses the short, simple sentence structure of Benvolio’s warning, to distress the importance of what Benvolio is saying to Romeo. It is here that Romeo leaves the scene, and the citizens of Verona enter along with the Prince, Montague, Capulet, their wives and others. This sudden rush of characters onto the stage would no doubt highlight the drama of the whole scene. The Prince arrives and asks Benvolio where the people who committed these crimes are.
“Prince: Where are the vile beginners of this fray?”
Benvolio responds in an iambic pentameter, along with two rhyming couplets.
“Benvolio: O noble prince, I can discover all
The unlucky manage of this fatal brawl:
There lies the man, slain by young Romeo,
That slew thy kinsman, brave Mercutio.”
This rhyming is common to Shakespeare’s tragedies, as it helps to slow and calm down the hectic situation. It is also a sign that order has been restored. Lady Capulet however is hysterical, and is determined to show the audience how distressed she is by making it clear she wants revenge, and wants Romeo dead.
“Lady Capulet: Tybalt, my cousin! O my brother's child!
O prince! O cousin! Husband! O, the blood is spilt
O my dear kinsman! Prince, as thou art true,
For blood of ours, shed blood of Montague.
O cousin, cousin!”
Shakespeare’s use of short, succinct, simple sentences here help to make apparent to the audience Lady Capulet’s obvious pain at the loss of her family member, Tybalt. Also the exclamation marks clearly emphasise her emotional pain and anger.
Benvolio now gives a long speech, which includes a full account of all that happened between Romeo, Tybalt and Mercutio. Although his speech is fair factually, he uses his clever use of language to twist the story. He recalls Romeo not the one wanting to fight, and refers to him as having:
“…gentle breath, calm look, knee’s humbly bow’d…” and he also decides not to recall the fact that Tybalt was provoked by Mercutio’s witty humour into fighting. The Prince gives the impression that he is angry with the events that have occurred in the scene. He has lost patience with the two quarrelling families, and the death of his relative Mercutio, does not help this feeling. The Prince’s final, concise speech of the scene is written in iambic pentameter along with rhyming couplets.
“Prince: And for that offence
Immediately we do exile him hence:
I have an interest in your hate's proceeding,
My blood for your rude brawls doth lie a-bleeding;
But I'll amerce you with so strong a fine
That you shall all repent the loss of mine:
I will be deaf to pleading and excuses;
Nor tears nor prayers shall purchase out abuses:
Therefore use none: let Romeo hence in haste,
Else, when he's found, that hour is his last.
Bear hence this body and attend our will:
Mercy but murders, pardoning those that kill.”
Again, the reason this speech is written in iambic pentameter along with rhyming couplets, is to install the peace and the reconciliation of the previous, wild situation. The short, simple sentences he uses are there to make it clear that he is dead serious. There is neither comedy nor romance in any of his speech and therefore shows the audience that what he is saying is truthful.
In conclusion, Act 3 Scene 1 can be perceived as being the most important scene in the whole of the play due to the fact that is the pivotal point from, “comedy and love” - to – “tragedy and death”. Everything up to Act 3 Scene 1 has been comedy and love and everything during and after it is tragedy and death. Also by putting scenes that contrast with Act 3 Scene 1 either side of it, Shakespeare has effectively increased the tension and importance of Act 3 Scene 1’s dramatic high point.
Shakespeare makes it obvious that this scene is important to the play by using many cases of dramatic irony, which overall, help to emphasise to the audience, the play’s message: violence leads to the destruction of love and life. Shakespeare also creates scenes of such drama and suspense that it lets the audience think that they are partially involved in the play. His use of different language techniques in Act 3 Scene 1, including alliteration, simple sentences and lists-of-three all help to increase the significance of the scene. The stage becomes busy many times during the scene which helps to create a chaotic atmosphere, this leads to the build up of tension and trepidation, and for the audience it becomes exceptionally hectic and hyped during the scene. Mercutio’s last words prophesise what happens after his death, nothing but a tragedy. “A plague O both your houses!”