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Romeo and Juliet - Act 3, scene 1

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Act 3, scene 1.

Mercutio and Benvolio encounter Tybalt on the street. As soon as Romeo arrives, Tybalt tries to provoke him to fight. When Romeo refuses, Mercutio answers Tybalt’s challenge. They duel and Mercutio is fatally wounded. Romeo then avenges Mercutio’s death by killing Tybalt in a duel. Benvolio tries to persuade the Prince to excuse Romeo’s slaying of Tybalt; however, the Capulets demand that Romeo pay with his life; the Prince instead banishes Romeo from Verona.

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Romeo and Juliet

By william shakespeare, romeo and juliet summary and analysis of act 3, act three, scene one.

Outside on the Verona street, Benvolio and Mercutio wait around for Romeo to meet them. Tybalt and Petruccio see them first, and start a quarrel. Tybalt makes it clear that he is looking for Romeo, whom he wants to punish for sneaking into the Capulets' masked party the previous day.

When Romeo arrives, overjoyed with his recent marriage, he is deferential to Tybalt, insisting he harbors no hatred for the Capulet house. Tybalt is unsure how to deal with Romeo. However, Mercutio challenges Tybalt to a duel, so he draws his sword and attacks Mercutio. Romeo attempts to intervene, holding Mercutio back. While Romeo is restraining him, Tybalt stabs Mercutio and then exits quickly.

Mercutio is mortally wounded, and chastises the Montagues and Capulets for encouraging such violence before allowing Benvolio to lead him offstage. Benvolio soon returns with news that Mercutio has died. Romeo vows revenge on Tybalt, who soon reappears. Romeo and Tybalt duel, and Romeo kills Tybalt. He then flees quickly after Benvolio warns him that the Prince will come soon.

The Prince , followed by the Montague and Capulet families, arrives on the scene. Benvolio tells him the entire story, but the Prince refuses to hold Romeo blameless. Instead, he banishes Romeo from Verona, insisting the boy will die if he does not obey.

Act Three, Scene Two

As she waits in her room for Romeo to arrive, Juliet delivers one of the play’s most elegant soliloquies about her beloved. The Nurse enters, distraught and speaking unclearly; Juliet can only discern that someone has died and that someone has been banished. As she did in the previous scene, the Nurse refuses to tell Juliet what she knows. Instead, she allows Juliet to believe that it is Romeo who has been killed.

When the Nurse finally reveals the truth, Juliet immediately chides Romeo over his pretense of peace and contradictory violence. She then recants the accusation, and asks the Nurse, "Shall I speak ill of him that is my husband?" (3.2.97). Overcome, Juliet laments Romeo’s banishment, and claims that she would rather have both her parents killed then see Romeo suffer such indignity.

The Nurse promises to find Romeo – whom she knows is hiding with Friar Laurence - and bring him to Juliet's bed that night. Juliet gives the Nurse a ring for Romeo to wear when he comes to see her.

Act Three, Scene Three

In the chapel, where Romeo is hiding, Friar Laurence informs the boy about his punishment, adding that he should be happy that the Prince commuted the death sentence. Romeo considers banishment a fate worse than death, since it will separate him from his beloved Juliet. When the Friar tries to console him, Romeo says, "Wert thou as young as I, Juliet thy love.../ Then mightst thou speak" (3.3.65-68).

The Nurse arrives to find Romeo collapsed on the ground, weeping. She orders him to stand, but he is so upset that he prepares to stab himself. She snatches away his dagger, and Friar Laurence begs Romeo to look at the bright side - at least he and Juliet are both still alive. The Friar then convinces Romeo to visit Juliet that night, and to escape to Mantua in the morning.

Act Three, Scene Four

At the Capulet household, the elder Capulets and Paris prepare for bed; they have been up all night mourning Tybalt’s death. They discuss Juliet's extreme despair which they believe to be the result of losing her cousin, Tybalt.

Partly because he believes it will assuage her sadness, Lord Capulet decides right then that Juliet will marry Paris, and that the wedding will take place later that week. He comments, "I think she will be ruled / In all respects by me" (3.4.13-14). He orders Lady Capulet to inform Juliet about the matter, and then leaves for bed.

Act Three, Scene Five

The next morning, Romeo and Juliet lie in her bed, pretending the night has not actually passed. The Nurse arrives with news that Juliet’s mother is approaching, so Romeo descends from the balcony and says goodbye.

Lady Capulet tells Juliet about the plans for her marriage, believing it will cheer her daughter up. However, Juliet refuses, insisting she would rather marry Romeo Montague than marry Paris. (Obviously, her mother thinks this simply a rhetorical statement, since Romeo is Tybalt’s murderer.)

Then, Lord Capulet enters, and grows furious at her refusal. He calls Juliet "young baggage," and demands she prepare for marriage on the upcoming Thursday (3.5.160).

Lady Capulet refuses to intercede for Juliet, and even the Nurse betrays her, insisting that Paris is a fine gentleman worthy of her hand. Juliet orders the Nurse to leave, and prepares to visit Friar Laurence for advice. As the Nurse leaves, Juliet calls her, "Ancient damnation!" (3.5.235).

One of the most unique qualities of Romeo and Juliet is the stylistic variation within the play. Some scholars criticize the play as uneven, while others applaud Shakespeare’s willingness to explore both tragic and comedic conventions. In Act III, the play's tone moves away from the largely comic romance of the first two acts. Mercutio’s death creates insurmountable obstacles for Romeo and Juliet's well-laid plans, and negates the likelihood of any true peace between the Montagues and Capulets.

Harold Bloom considers Mercutio one of the play’s most expressive and unique characters. Mercutio provides much of the play’s early humor through his pronounced wit and clever cynicism. However, in Act 3, his energy takes a darker turn, as he cries out "A plague o' both your houses" (3.1.101). The true horror of the feud is manifest in the way Mercutio uses his dying breaths to scream this phrase three times - making it sound like an actual curse. Additionally, Mercutio's death forces Romeo's transition from childhood into adulthood. Whereas before, Romeo was able to separate himself from his family's grudge, his decision to avenge Mercutio's death by killing Tybalt instead fuels the feud he had once hoped to escape.

The Nurse's first appearance Act 3 reinforces the shift to tragedy. Her inability (or refusal) to expediently share her news with Juilet echoes the earlier scene (II.iv), when she teased Juliet. However, whereas that scene was played for comedy, the same device becomes infuriating and cruel under the tragic circumstances. These parallel scenes establish the tonal shift of the play. As a side note, the parallel also reveals the complexities of the Nurse’s character. Though Shakespeare could have written her as simply a functional character, he instead gives her layers - she is defined by her service to a young woman whom she also resents.

The recurring disparity between order and disorder also reappears in Act 3. Juliet delivers one of the play’s most beautiful soliloquies, when she begs for nightfall - which Shakespeare has established as a time of order and protection. Juliet says, "Come, gentle night; come, loving, black-browed night, / Give me my Romeo, and when he shall die / Take him and cut him out in little stars, / And he will make the face of heaven so fine / That all the world will be in love with night / And pay no worship to the garish sun" (3.2.20-25). The dramatic irony of her speech – the audience knows at this point that Romeo has killed Tybalt and will soon be punished, while Juliet does not – only underscores the intensity of the separation between order and disorder at this point. Every remaining scene set in the dark – the bedroom and then the vault – will be marked by the characters' tragic awareness that once the sun rises, they will be subject to chaos and pain.

The argument that that Romeo and Juliet is not a classical tragedy gains some credence with the circumstances surrounding the terrible events that occur in Act 3. Though Mercutio and Tybalt's deaths and Romeo's banishment are undoubtedly disastrous, they are avoidable occurrences instead of being mandated by fate - which would be the case in a classical tragedy. Instead, these deaths are the result of an avoidable feud. The dual mortalities occur after the characters randomly run into each other on the street, but the bloodshed is enabled by specific human decisions. Romeo chooses to pursue vengeance on Tybalt, not for a moment considering how his actions will affect his new wife. The emotionally charged circumstances, though tragic, present a choice, not an inevitability. Especially considering how Romeo has avoided violence and aggression thusfar in the play, it is easy to argue that he is largely to blame for the play’s tragic turn.

Conversely, one could argue that the tragic forces at work are immovable even though they are man-made. The feud between the Montagues and the Capulets is more powerful than the love between Romeo and Juliet - and thus, it eventually defeats them. Romeo originally has little interest in involving himself in his family's affairs, but Mercutio's death directly affects him. Further, one could argue that the “plague” Mercutio places on the houses is the reason for the lovers' deaths. In the final act of Romeo and Juliet , Friar John explains his inability to deliver the letter to Romeo: "the searchers of the town, / Suspecting that we both were in a house / Where the infectious pestilence did reign, / Sealed up the doors, and would not let us forth" (5.2.8-11). The fact that an actual “plague” detoured the letter suggests that greater forces had a role in the tragic ending.

Regardless of classical conventions, Shakespeare leaves little doubt over his tragic intentions through the play’s focus on death. For instance, he introduces the image of the wheel of fortune in Act 1 when the Nurse speaks of how Juliet has grown from a humble daughter into a strong woman, while in Act 3, she tells Romeo that the girl "down falls again" (3.3.101). Later, Juliet takes this image even further, saying, "Methinks I see thee, now thou art so low / As one dead in the bottom of a tomb" (3.5.55-6). Juliet's character arc follows her growing confidence in the early acts, but quickly descends into tragedy as the play comes to an end. Furthermore, Shakespeare once again employs the image of death as Juliet’s bridegroom. Lady Capulet comments about Juliet's refusal to marry Paris: "I would the fool were married to her grave" (3.5.140). This phrase comes true, because Juliet dies while she is still married to Romeo.

The intense love between Romeo and Juliet, however, is a counterpoint to the tragedy that swirls around them. In Act 3, the lovers look forward to consummating their relationship. However, sex, a conduit to new life, tragically marks the beginning of the sequence that will end in Romeo and Juliet's deaths. In Act 3, Shakespeare continues to define love as a condition wherein lovers can explore selfless devotion by the selfish act of retreating into a private cocoon. For instance, Juliet's dedication to her marriage is strong throughout the Act. Though she initially derides Romeo for killing Tybalt, she quickly corrects herself, asking, "Shall I speak ill of him that is my husband?" (3.2.97). She cold-heartedly insists that she would sacrifice ten thousand Tybalts and her own parents to be with Romeo. While Juliet's proclamation reinforces the depth of her love, it also reminds the audience that true love exists in private realm, separated from moral codes and expectations.

Romeo also demonstrates the depth of his commitment to his beloved, though not with the same determination as his wife. Whereas Juliet derives strength from her grief, Romeo immediately resigns himself to misery. He proclaims, "Then 'banished' / Is death mistermed. Calling death 'banished' / Thou cutt'st my head off with a golden axe" (3.3.20-22). Both Friar Laurence and the Nurse chide Romeo his pessimism, since he and Juliet are both still alive – but his solipsism is such that he lacks any broader perspective.

Shakespeare subverts gender roles once more by having Juliet demonstrate a more stoic resolve than her husband. When the Nurse insists that Romeo “stand, an you be a man," she is implicitly suggesting that he has been acting in a feminine manner (III.iii.88). Shakespeare also reminds the audience of the existing patriarchy through Lord Capulet, who sees Juliet simply as an object to be bartered. Though Capulet initially claims to have his daughter's welfare in mind, he quickly turns cruel when she defies him. Juliet's strength is admirable to the audience, but is anathema to men, like her father, whose power she is threatening.

The conflict between Juliet and her father is another example of the disparity between young and old, which appears several times in Act 3. Romeo speaks of Friar Laurence’s ignorance of his love for Juliet, saying that the Friar could never understand because he is not “young.” Furthermore, the final scene reveals how adults can no longer understand youthful passion. Lady Capulet refuses to consider Juliet’s refusal to marry Paris, and even the Nurse speaks of Paris as a virtuous man worthy of her hand (thus revealing her underlying resentment of her young charge). In response to the Nurse’s patronizing description of Paris, Juliet shouts, "Ancient damnation!" (3.5.235). This serves as both reference to the Nurse's age and to the problems she must deal with, all of which have been created by a feud that has its roots in the older generation. Romeo and Juliet are two young people, who have fallen inescapably in love - only to butt up against the political machinations of their elders - a quandary that has resonated emotionally with teenagers for generations.

Romeo and Juliet Questions and Answers

The Question and Answer section for Romeo and Juliet is a great resource to ask questions, find answers, and discuss the novel.

Can you find verbal irony in the play? Where?

One example of verbal irony would be Romeo's reference to the poison he has purchased as a "sweet medicine". A cordial is a sweet liquor or medicine.

Come, cordial and not poison, go with me To Juliet's grave; for there must I use thee.

What do we learn about Mercutio in queen man speech?

The whole speech is based on pagan Celtic mythology. Mercutio’s speech is laced with sexual innuendo. The words “queen” and “mab” refer to whores in Elizabethan England. As his speech goes on we notice the subtext get increasingly sexual...

What does Romeo fear as he approaches Capulet house? What literary device would this be an example of?

Romeo feels something bad is going to happen.

I fear too early, for my mind misgives Some consequence yet hanging in the stars

Looks like foreshadowing to me!

Study Guide for Romeo and Juliet

Romeo and Juliet study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

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Essays for Romeo and Juliet

Romeo and Juliet essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Romeo and Juliet by William Shakespeare.

• Unity in Shakespeare's Tragedies
• Fate in Romeo and Juliet
• Romeo and Juliet: Under the Guise of Love
• The Apothecary's Greater Significance in Romeo and Juliet
• Romeo and Juliet: Two Worlds

Lesson Plan for Romeo and Juliet

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E-Text of Romeo and Juliet

Romeo and Juliet e-text contains the full text of Romeo and Juliet by William Shakespeare.

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Romeo and Juliet

Romeo and Juliet Shakescleare Translation

Romeo and Juliet Translation Act 3, Scene 1

MERCUTIO, his page, and BENVOLIO enter with other men.

I pray thee, good Mercutio, let’s retire. The day is hot; the Capulets, abroad; And if we meet we shall not ’scape a brawl, For now, these hot days, is the mad blood stirring.

I’m begging you, good Mercutio, let’s go home. It’s hot, and the Capulets are all over the place. If we should meet up with them, we’ll end up fighting them. Hot days like today get people all worked up and angry.

Thou art like one of those fellows that, when he enters the confines of a tavern, claps me his sword upon the table and says “God send me no need of thee!” and, by the operation of the second cup, draws it on the drawer when indeed there is no need.

You’re the kind of guy who walks into a bar, slaps his sword down on the table and says, “I hope I don’t have to use you.” By the time he’s having his second drink, he draws his sword on the bartender for no reason.

Am I like such a fellow?

You think I’m like that?

Everything you need for every book you read.

Come, come, thou art as hot a Jack in thy mood as any in Italy, and as soon moved to be moody, and as soon moody to be moved.

Come now. You can be as hot-blooded as any man in Italy. You get angry at the smallest thing, and when you’re in the mood to get angry you always find something to get angry about.

And what to?

Nay, an there were two such, we should have none shortly, for one would kill the other. Thou, why, thou wilt quarrel with a man that hath a hair more or a hair less in his beard than thou hast. Thou wilt quarrel with a man for cracking nuts, having no other reason but because thou hast hazel eyes. What eye but such an eye would spy out such a quarrel? Thy head is as full of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarreling. Thou hast quarreled with a man for coughing in the street because he hath wakened thy dog that hath lain asleep in the sun. Didst thou not fall out with a tailor for wearing his new doublet before Easter? With another, for tying his new shoes with old ribbon? And yet thou wilt tutor me from quarreling!

So, if there were two men such as you, it wouldn’t take long for there to be none, because each of you would kill the other. Why, you would fight with a man if he had one more or one less hair in his beard than you have in yours. You’ll fight a man who’s cracking nuts simply because your own eyes are the color of hazelnuts. Only someone like you would look for that kind of fight. Your head is as full of fights as an egg is full of food, but your head has gotten scrambled like an egg from all your fighting. You once fought with a man who coughed in the street because he woke up your dog that was sleeping in the sun. And can you deny that you had a falling out with a tailor because he was wearing a new jacket before Easter? And with another for tying his new shoes with old laces? And yet you’re trying to tell me how to avoid fighting?

An I were so apt to quarrel as thou art, any man should buy the fee simple of my life for an hour and a quarter.

If I were as quick to get into fights as you are, my life insurance rates would be immense.

The fee simple? O simple!

Your life insurance? You’re a fool!

TYBALT, PETRUCHIO, and some other CAPULETS enter.

By my head, here comes the Capulets.

By God, Here come the Capulets.

By my heel, I care not.

By my foot, I couldn’t care less.

Follow me close, for I will speak to them. Gentlemen, good e’en. A word with one of you.

[To his men] Follow me closely. I’ll speak to them. 

[To BENVOLIO and MERCUTIO] Good afternoon, gentlemen. I’d like to have a word with one of you.

And but one word with one of us? Couple it with something. Make it a word and a blow.

You want a single word with one of us? Combine it with something else. Make it a word and a punch.

You shall find me apt enough to that, sir, an you will give me occasion.

You’ll find me happy to do that, sir, if you give me a reason.

Could you not take some occasion without giving?

You can’t find a reason without my giving you one?

Mercutio, thou consort’st with Romeo.

Mercutio, you hang out with Romeo.

Consort? What, dost thou make us minstrels? An thou make minstrels of us, look to hear nothing but discords. Here’s my fiddlestick. Here’s that shall make you dance. Zounds, “consort”!

“Hang out?” What, are we musicians in a band? If we look like musicians to you, you can expect to hear nothing but noise. [Touching his sword] This is my fiddlestick. It will make you dance. My God—“hang out!”

We talk here in the public haunt of men. Either withdraw unto some private place, And reason coldly of your grievances, Or else depart. Here all eyes gaze on us.

We’re talking here in public. Either let’s go somewhere private and calmly discuss your complaints, or else just go our separates ways. Here, everybody can see us.

Men’s eyes were made to look and let them gaze. I will not budge for no man’s pleasure, I.

Men’s eyes were made to see. Let them watch. I won’t move for anyone.

Well, peace be with you, sir. Here comes my man.

Well, may peace be with you. Here comes the man I’m after.

ROMEO enters.

But I’ll be hanged, sir, if he wear your livery. Marry, go before to field, he’ll be your follower. Your worship in that sense may call him “man.”

Sir, I’ll be hanged if he’s your man, in your servant's uniform. Walk out into a field and he’ll chase you. That’s the only sense in which you can call him your “man.”

Romeo, the love I bear thee can afford No better term than this: thou art a villain.

Romeo, I have just one thing to say to you: you’re a villain.

Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage To such a greeting. Villain am I none. Therefore, farewell. I see thou know’st me not.

Tybalt, I love you for a reason that allows me to ignore the rage I would normally feel in response to such a greeting. I’m not a villain. Therefore, goodbye. I can see that you don’t know me at all.

Boy, this shall not excuse the injuries That thou hast done me. Therefore turn and draw.

Boy, these words don’t excuse the injuries you’ve done to me. Turn and draw your sword.

I do protest I never injured 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.

I’ve never done you harm. In fact, I love you more than you’ll be able to understand until you know the reason behind my love. And so, good Capulet—which is a name I love as dearly as my own—be satisfied.

O calm dishonourable, vile submission! Alla stoccata carries it away. [Draws his sword] Tybalt, you ratcatcher, will you walk?

Such a calm submission is both dishonorable and vile! The thrust of a sword will sweep it away. [Draws his sword] Tybalt, you rat-catcher, will you duel with me?

What wouldst thou have with me?

What do you want from me?

Good King of Cats, nothing but one of your nine lives, that I mean to make bold withal, and, as you shall use me hereafter, dry-beat the rest of the eight. Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out.

Good King of Cats, I want nothing more than one of your nine lives. I’ll boldly take that one, and, depending on how you behave after that, I just may also beat the rest of the eight out of you too. Will you draw your sword from its sheath? Hurry, or mine will be at your ears before you have yours out.

I am for you. [He draws his sword]

I’ll duel with you. [He draws his sword]

Gentle Mercutio, put thy rapier up.

Noble Mercutio, put your sword away.

Come, sir, your passado.

[To TYBALT] Get on with it, sir. Attack.

[Draws his sword] 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!

[Drawing his sword] Draw your sword, Benvolio, and help me beat down their weapons. Gentlemen, this is shameful. Tybalt! Mercutio! The Prince has explicitly forbidden fighting in the streets of Verona. Stop! Tybalt! Good Mercutio!

MERCUTIO and TYBALT fight.

ROMEO tries to break up the fight. TYBALT stabs Mercutio under ROMEO’s outstretched arm.

Away, Tybalt.

Let’s get out of here, Tybalt.

I am hurt. A plague o’ both your houses! I am sped. Is he gone and hath nothing?

I’m hurt. May a plague strike both your families. I’m done. Did he get away without injury?

TYBALT, PETRUCHIO, and the other CAPULETS exit.

What, art thou hurt?

What, are you hurt?

Ay, ay, a scratch, a scratch. Marry, ’tis enough. Where is my page?—Go, villain, fetch a surgeon.

Yes, yes. A scratch, just a scratch. Yet it’s enough. Where is my page? Go, villain. Get a doctor.

Courage, man. The hurt cannot be much.

Have courage, man. The injury can’t be so bad.

MERCUTIO’S PAGE exits.

No, ’tis not so deep as a well nor so wide as a church-door, but ’tis enough, ’twill serve. Ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o’ both your houses! Zounds, a dog, a rat, a mouse, a cat to scratch a man to death! A braggart, a rogue, a villain that fights by the book of arithmetic! Why the devil came you between us? I was hurt under your arm.

It’s not as deep as a well or as wide as a church door, but it’s enough. Ask for me tomorrow, and you’ll find me a grave man. My time in this world is done, I believe. May a plague strike both your families. God! That dog, that rat, that mouse, that cat has scratched me to death! That braggart, that scoundrel, that villain who fights as if he learned it all from some manual! 

[To ROMEO] Why the devil did you step between us? He wounded me by reach ing under your arm.

I thought all for the best.

I was trying to do what was right.

Help me into some house, Benvolio, Or I shall faint. A plague o’ both your houses! They have made worms’ meat of me. I have it, And soundly too. Your houses!

Carry me inside some house, Benvolio, or else I will faint. May a plague strike both your families! They’ve made me into food for worms. I’m finished. Curse your families!

MERCUTIO and BENVOLIO exit.

This gentleman, the Prince’s near ally, My very friend, hath got his mortal hurt In my behalf. My reputation stained 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 softened valor’s steel!

This gentleman, a kinsman of the Prince and my friend, was killed while fighting on my behalf, to defend me against Tybalt’s insults. Tybalt, who has been my own kinsman for an hour! Oh, sweet Juliet, your beauty has made me effeminate and softened the steel of my valor.

BENVOLIO enters.

O Romeo, Romeo, brave Mercutio is dead! That gallant spirit hath aspired the clouds, Which too untimely here did scorn the earth.

Oh Romeo, Romeo, brave Mercutio is dead! His noble spirit has gone to heaven, but it was too early for him to leave this life.

This day’s black fate on more days doth depend. This but begins the woe others must end.

Today’s dark fate will determine the future. These events only begin the sorrow that is to come.

TYBALT enters.

Here comes the furious Tybalt back again.

The furious Tybalt has returned.

Alive in triumph—and Mercutio slain! Away to heaven, respective lenity, And fire-eyed fury be my conduct now. Now, Tybalt, take the “villain” back again That late thou gavest 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.

Alive and triumphant, while Mercutio is dead? Begone, respect and compassion. Rage and fury will be my guide. Now, Tybalt, take back the “villain” that you called me earlier. Mercutio’s soul is waiting just a bit above our heads for you to join him. Either you, I, or both of us must go with him.

Thou, wretched boy, that didst consort him here Shalt with him hence.

Wretched boy, you hung out with him here on earth, and now you’re going to go with him to heaven.

This shall determine that.

Our fight will decide who goes to heaven.

They fight. TYBALT falls and dies.

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!

Romeo, get away from here. The citizens are coming, and Tybalt is dead. Don’t just stand there staring. If you’re caught, the Prince will execute you. Get out of here!

Oh, I am fortune’s fool!

Oh, fate has played me for a fool!

Why dost thou stay?

Why are you still here?

CITIZEN OF THE WATCH

Which way ran he that killed Mercutio? Tybalt, that murderer, which way ran he?

Where did the man who killed Mercutio run? Tybalt, that murderer, which way did he go?

ROMEO exits.

The CITIZENS OF THE WATCH enter.

There lies that Tybalt.

Tybalt is lying right there.

[To TYBALT] Up, sir, go with me. I charge thee in the Prince’s name, obey.

[To TYBALT] Get up, sir, and come with me. By the name of the Prince, I command you to obey.

Where are the vile beginners of this fray?

Where are the evil instigators of this fight?

The PRINCE enters with MONTAGUE, CAPULET, LADY MONTAGUE, LADY CAPULET, and OTHERS.

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.

Oh, noble prince, I can explain everything about the unfortunate events that led to this deadly fight. There lies Tybalt, the man who killed your relative, brave Mercutio. Tybalt was then killed by young Romeo.

LADY CAPULET

Tybalt, my cousin! O my brother’s child! O Prince! O cousin! Husband! Oh, the blood is spilled Of my dear kinsman! Prince, as thou art true, For blood of ours shed blood of Montague. O cousin, cousin!

Tybalt, my nephew! My brother’s son! Oh Prince, oh nephew, oh husband! Oh, my dear kinsman is dead! Prince, you are a man of honor, and therefore must respond to this murder by killing a Montague. Oh nephew, nephew!

Benvolio, who began this bloody fray?

Benvolio, who began this deadly fight?

Tybalt here slain, whom Romeo’s hand did slay. Romeo, that spoke him fair, bade him bethink How nice the quarrel was and urged withal Your high displeasure. All this uttered With gentle breath, calm look, knees humbly bowed, Could not take truce with the unruly spleen Of Tybalt deaf to peace, but that he tilts With piercing steel at bold Mercutio’s breast, Who, all as hot, turns deadly point to point, And, with a martial scorn, with one hand beats Cold death aside and with the other sends It back to Tybalt, whose dexterity, Retorts it. Romeo, he cries aloud, “Hold, friends! Friends, part!” and, swifter than his tongue, His agile arm beats down their fatal points, And ’twixt them rushes—underneath whose arm An envious thrust from Tybalt hit the life Of stout Mercutio, and then Tybalt fled. But by and by comes back to Romeo, Who had but newly entertained revenge, And to ’t they go like lightning, for ere I Could draw to part them was stout Tybalt slain. And, as he fell, did Romeo turn and fly. This is the truth, or let Benvolio die.

Tybalt did, who then was killed by Romeo. Romeo spoke politely to Tybalt and begged him to see how ridiculous the disagreement was and to remember how displeased you would be if there was a fight. All this he said gently, calmly, kneeling down with humility. But he could not make peace. Tybalt’s anger was irrational, and he was deaf to any talk of peace. Soon Tybalt attacked Mercutio, who just as angry, fought back. They thrusted their swords and attacked each other. Romeo cried out, “Stop, my friends. Step apart.” Then he jumped in between them, and forced down their swords. Tybalt, though, thrust his sword under Romeo’s arm, and hit brave Mercutio’s heart. Then Tybalt ran. But, soon after, Tybalt returned to fight Romeo, who by now wanted revenge for Mercutio’s death. They began to fight as quick as lightning. Before I could separate them, Tybalt was killed. As Tybalt fell, Romeo turned and ran. This is the truth, I swear on my life.

He is a kinsman to the Montague. Affection makes him false. He speaks not true. Some twenty of them fought in this black strife, And all those twenty could but kill one life. I beg for justice, which thou, Prince, must give. Romeo slew Tybalt. Romeo must not live.

Benvolio is a Montague. His loyalty compels him to lie. He’s lying. There must have been twenty Montagues fighting, and together all twenty of them could only kill one man. I beg for justice that only you, Prince, can give. Romeo killed Tybalt. Romeo must die.

Romeo slew him; he slew Mercutio. Who now the price of his dear blood doth owe?

Romeo killed Tybalt. Tybalt killed Mercutio. Who should pay the price for Mercutio’s life?

Not Romeo, Prince, he was Mercutio’s friend. His fault concludes but what the law should end, The life of Tybalt.

Not Romeo, Prince. He was Mercutio’s friend. His “crime” was justice, because it took the life of Tybalt.

And for that offense 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 is found, that hour is his last. Bear hence this body, and attend our will. Mercy but murders, pardoning those that kill.

And for that offense I immediately exile him from this place. I have a part in your rivalry; my blood relative, Mercutio, lies bleeding because of your rude fights. But I will punish you so harshly that you will regret causing me this loss. I will be deaf to your pleas and your excuses. Neither tears nor prayers can buy you forgiveness for what you've done wrong. So don't use any. Let Romeo get out of here quickly. Otherwise, when he is found, he will be swiftly killed. Take this body away, and obey my commands. Showing mercy and pardoning murderers only causes more killings.

They all exit.

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Tybalt, still looking to punish Romeo for his appearance at the Capulets’ party, runs into Mercutio and Benvolio. He provokes Mercutio into a duel, while Benvolio tries to stop the fighting. Romeo enters, and Tybalt calls him a villain. Romeo, having just married Juliet (who is Tybalt’s cousin), swears he’s not, but Tybalt challenges him to draw. Mercutio draws first, then Tybalt, and they eventually fall to fighting. Romeo tries to break it up, but Tybalt reaches under Romeo’s arm and fatally stabs Mercutio, who curses the Montagues and the Capulets for their continuing feud. A grieving Romeo fights Tybalt and kills him. Knowing that he’ll face death if he stays in Verona, Romeo flees. The Prince, the Capulets, and the Montagues arrive. Benvolio explains what happened, and Lady Capulet calls for Romeo’s death. The Montagues argue their son was merely defending himself against an instigating Tybalt. The Prince strikes a compromise, saying that he’ll spare Romeo’s life, but that he must leave Verona forever.

I think it would be a good idea to get out of the streets, Mercutio. When it’s as hot as this, people get easily provoked. There’s lots of Capulets about. I’m afraid that if we run into any of them, we’ll wind up in a fight.

You’re one of those guys who goes into a pub and takes his sword off saying, “I won’t be needing you.” But by the time your second drink is having an effect, you’ve drawn your sword on the bartender for no good reason.

Am I really like that?

You’re as hot-headed as any Italian. You get angry at the smallest provocation, or when you’re feeling angry already, you just look around for something to provoke you.

Provoked to what?

“Provoked two”? No, if there were two of you, there would quickly be none, since they would kill each other. You! Why you would quarrel with a man who has one more or one less hair in his beard than you do. You would quarrel with a man for cracking hazelnuts just because you have hazel eyes. You ask, “Am I really like that?” You are the “I” with an eye for finding quarrels.

Your brain is as full with quarrels as an egg is full of yolk, even after your brain’s been scrambled like an egg when you’ve been beaten up for fighting. You fought a guy because he coughed and woke up your dog when it was asleep in the sun. Didn’t you fight with the tailor for wearing his new jacket before Easter, and with another man for putting old laces in his new shoes? And yet you would lecture me about quarreling!

If I were as quick to get into a fight as you, any man should bet that my life will be short.

A bet! That’s silly.

I swear on my head, here come the Capulets.

I swear on my heel, I don’t give a damn.

[To his companions] Back me up, I’m going to talk to them. [To Benvolio and Mercutio] Gentlemen, good afternoon. I’d like a word with one of you.

Just one word with one of us? Why not add something to it? Make it a word and a blow.

You’ll find me ready enough for that, sir, if you will give me an excuse.

Can’t you take some excuse, instead of me giving you one?

Mercutio, you hang out with Romeo.

Hang out with him? Do you think we’re a musical group? If so, you’re only going to hear harsh notes from us.

[Pointing to his sword] Here’s the bow for my fiddle, it’ll make you dance. By God, “consort” you say!

We’re arguing out in public. Remember the Prince’s threat. Either let’s go to some private place where we can discuss your grievances calmly and rationally, or else go our separate ways. Here everyone's looking at us.

Men's eyes were made to look, and let them gaze. I will not budge for any man's preference.

Well, goodbye, sir. Here comes my man.

Your man! I’d be hanged before he would put on the uniform of your manservants. You call him your servant, your follower. Go to the dueling field; he’ll be your “follower” then. He’ll follow you onto the field to give you a proper fight. In that sense, your worship may call him your “follower.”

Romeo, the nicest thing I can say about you is this: you’re a villain.

Tybalt, I have reason to love you, and that reason prevents the anger such a remark should provoke. I’m no villain. So goodbye, I see that you don’t really know me.

Boy, what you said won’t excuse the insults that you have given me. So turn around and draw your sword.

I insist, I have never insulted you, and actually have more love for you than you can guess until you understand the reason why. And so, good Capulet--a name I now must value as much as my own--be content with this.

Oh Romeo, what a dishonorable, cowardly surrender! Are you going to let his fancy-named fencing moves win the day? [Draws his sword] Tybalt, you rat catcher, will you have a go with me?

What do you want with me?

Good king of cats, I just want one of your nine lives, which I intend to abuse, and, depending on how you treat me, I may want to bash the other eight, too. Pluck your frightened sword out of its sack by the ears, and be quick about it or my sword will already be hitting you around the ears.

I’m ready for you.

Gentle Mercutio, lower your sword.

Come, sir, show me one of your fancy moves. Show me your passado.

Draw your sword, Benvolio, and beat down their weapons so they don’t strike each other. Gentlemen, for shame, stop this outrage! Tybalt, Mercutio, the prince expressly forbade fighting in Verona streets. Stop, Tybalt! Stop good Mercutio!

I’ve been hurt. A curse on both your families! I’m done for. Has Tybalt taken off with no injury?

What, are you hurt?

It’s just a scratch, a little scratch, but it’s enough to do me in. Where’s my page? Go, fool, fetch a doctor.

Have courage, man, it can’t be a serious wound.

No, the wound’s not as deep as a well, nor as wide as a church-door, but it’s enough. It’ll do the job. Ask for me tomorrow, and you will find me a grave man. I am finished for this world. A plague on both your houses! My God, a mere dog, a rat, a mouse, or a cat can scratch a man to death! Some braggart, some rogue, some villain that fights by the book as if he’s solving arithmetic problems! Romeo, why the devil did you come between us? He stabbed me underneath your arm.

I was trying my best to help.

Help me into some house, Benvolio, or I’ll pass out. A plague on both your houses! They’ve made worms' meat of me. I’ve had it, for sure. A plague on your houses!

This gentleman, the prince's close relation, my true friend, has been mortally wounded on my behalf. My reputation has been tarnished by Tybalt's slander--Tybalt, who has been my relative by marriage for only an hour!

O sweet Juliet, your beauty has made me feminine, and has softened the hard steel of my nature.

O Romeo, Romeo, brave Mercutio's dead! His gallant spirit has climbed up to the clouds, having left the earth too soon.

We haven’t seen the end of the fallout from this awful, fateful day. This is just the beginning of a sorrow that future days will end.

Here comes angry Tybalt back again.

How can he be alive and triumphant and Mercutio’s killed? I’ve had enough of my considerate mercy, and now I will act with fiery fury! Now, Tybalt, take back what you said about me being a villain or else, for Mercutio’s soul has not yet flown far away, and it’s waiting for yours to keep him company. Either you or me, or both of us, must go with him.

You, you wretched boy that hung out with him here, you’ll go with him in the afterlife.

We’ll see about that.    

Romeo, you have to get away, hurry! There are people around and Tybalt’s lying here dead. Don’t stand there stupefied. The prince will condemn you to death if you’re arrested. Go, get out, get away!

Oh, I’m fate’s toy!

What are you waiting for?

First Citizen

Which we did Mercutio’s killer run? Which way did Tybalt run, that murderer?

There lies that Tybalt.

Get up, sir, go with me. I charge you in the prince’s name to obey.

Where are the vile men who started this fight?

Oh noble prince, I can explain it all, everything that happened as a result of this fateful brawl. There’s the man Romeo killed, the one who slew Mercutio.  

Lady Capulet

Tybalt, my nephew! Oh, my brother’s child! Oh Prince! Oh nephew! Oh husband! Oh the blood has been spilled! Oh my dear relative! Oh Prince, if you’re an honorable man, you must shed blood of the Montagues since they have shed ours. Oh nephew, nephew!

Benvolio, who started this bloody fight?

It was Tybalt, who lies here dead after Romeo killed him. Romeo spoke kindly to him, urged him to stop and think about how silly the fight was, and mentioned your official disapproval. Everything he said, with his calm expression, even voice, and humble posture, could not ease Tybalt’s anger, for Tybalt was deaf to talk of peace. Tybalt struck at Mercutio with his sword, and Mercutio, who was just as angry, met him in that fight. They fought with warlike pride. Tybalt held death at bay with one hand and Mercutio threatened him with death again in turn, but Tybalt nimbly pushed back.

Romeo cried out “Stop, friends!” and tried to bat down their swords faster than his own cry. He rushed between them, and underneath his arm, Tybalt fatally stabbed brave Mercutio, and then Tybalt ran off. He came back not much later for Romeo, who had just begun to think of revenge, and they went at it as quick as lightning. Before I could even draw my sword to break up the fight, stout-hearted Tybalt was killed, and as he fell to the ground Romeo turned and fled.  This is the truth. I stake my life on it.

He’s a relative of the Montagues. Affection for them twists his words, he’s not telling the truth. There were twenty or so fighting in this dreadful quarrel, and Romeo was the only one who killed. I beg for justice, Prince. You must give us justice. Romeo killed Tybalt, so Romeo cannot live.

Romeo killed Tybalt, and Tybalt killed Mercutio. Who now will pay for Mercutio’s life?

Not Romeo, Prince, he was Mercutio’s friend. His transgression was killing Tybalt, but the law would have condemned Tybalt to death anyway.

And for the offense let him be immediately exiled. I am not indifferent to the outcome of your feud. My family lies bleeding because of your uncivilized brawls. I will punish you with such a heavy fine that you will all regret the loss of my kinsman, Mercutio. I will not hear any pleading or excuses. Neither tears nor prayers will lighten the punishment, so don’t try either. Let Romeo depart quickly, or else, if he’s found here, he’ll be put to death immediately. Bring in Mercutio’s body and obey me. Mercy only does harm when it pardons those who kill.

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Describe the Attitudes To Violence and AND CONFLICT IN ACT 3 SCENE 1 OF "ROMEO AND JULIET"

Mohab Arafa 10.3

DESCRIBE THE ATTITUDES TO VIOLENCE AND CONFLICT IN ACT 3 SCENE 1 OF “ROMEO AND JULIET”

Violent plays have always been popular throughout history. As humans it is in our nature to like violent plays, stories, sports or hobbies. Some cultures include violent celebrations like bullfighting in Spain; others enjoy violence in the form of sports like boxing and wrestling. In the past there was limited forms of entertainment, In Rome they had gladiators fight man-eating lions and in England they had fox hunting. Shakespeare used this love of violence to create masterpiece play, which were wither comedies and tragedies, both where just as gripping  and gory as each other. These thrilling performances where adored by the Shakespearian audience because they were complete with romance, violence and comical humour. Violence in general is popular both now and in the past because audiences enjoy horrific battles and are elated by these exhilarating performances.

So far in the play the prince has warned the Montagues and the Capulets that any more fighting will lead to serious consequences. “If ever disturb our streets again your lives shall pay the forfeit of the peace”   This means that anymore fighting and the culprits will pay with their lives. That was the only fight scene so far. After the fight Benvolio confronts Romeo about his sadness. Later in the play the Capulets hold and extravagant party where Romeo falls in love with Juliet (but they were spotted by Tybalt gate crashing the party). After the party Romeo goes to Juliet’s balcony and immerse in a deep conversation and the next day they are helped by Friar Lawrence into marriage.

In Act 3 Scene 1, a fierce battle between Tybalt and Mercutio. Romeo tries to break up the fights Tybalt is now Romeo’s cousin by marriage. Romeo steps between them Tybalt, who is shielded by Romeo, wounds Mercutio and flees the battle. Romeo is fuelled by revenge by the death of Mercutio, goes to avenge his friend’s loss by tracking down Tybalt.

“Alive, in triumph! And Mercutio slain!

Away to heaven, respective lenity,

And fire-eyed fury be my conduct now!

Now, Tybalt, take the villain back again,

That lat thou gav’st me; for Mercutio’s soul

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Is but a little away above our heads,

Staying for thine to keep him company:

Either thou, or I, or both, must go with him.”

Both Tybalt and Romeo fight and after Tybalt dies. Benvolio ushers Romeo to leave.

The Prince then finds out about the killings and Romeo is banished. This in my opinion is the climax of the play. Romeo feels that death is better than banishment. There is now a huge change in the play as Romeo and Juliet are newly married but cannot see each other due to Romeo’s banishment. The Capulets are also trying to make marry Parris.

Benvolio is Romeo’s cousin. He likes fighting but due to his restriction that has been put in place he is forbidden to fight. In Act 3 Scene 1 he is trying to persuade Mercutio not to fight “I pray thee good Mercutio, lets retire; the day is hot, the Capulets are abroad, and if we meet we shall not ‘scape a brawl, for now these hot days are is the mad blood stirring”  Benvolio is surprised when Mercutio tells him that he Benvolio says he will not fight after to drinks he will be looking for trouble. Shakespeare opens up the subject of Benvolio’s personality during his quarrel with Mercutio. Benvolio also tried to stop the fight at the beginning of the play. This shows that he has good intentions.

Mercutio is a friend of Romeo’s and a kinsman to the Prince. He also has a fiery temper but loves to joke around. He is known as a strong person but is sometimes big headed. He would fight a Capulet at any given opportunity. He likes to get into fights and has called Benvolio prejudice for trying to prevent brawls with the Capulets.

His life ended for his love of violence.

Tybalt is an expert soldier who “Fights by the book of arithmetic”  

He is a Capulet and cousin of Juliet. He hates all Montagues and is responsible for both clashes. At the beginning of the play, when the servants were fighting, Benvolio tried to stop it but Tybalt stepped in and exchanged blows with him. Another Scene in which Tybalt wanted a fight was the party scene. If Capulet himself had not told Tybalt not to fight we would of seen early deaths at the Capulet’s. Although Tybalt hates the Montagues he did not mean to slaughter Mercutio, his intentions were only to frighten him .Shakespeare shows us his true personality after the death of Mercutio as he flees the scene he is obviously saddened as he didn’t mean for anyone to die.

Romeo is Montagues young son who fell in love with the Capulets daughter. He is stunned when he found out that Juliet is a Capulet and this is the only reason that Romeo refuses to come to blows with Tybalt. Romeo’s mood changes throughout the play, in the early scenes he is in love, full of happiness and cheerful. However, after Mercutio’s death Romeo is looking to settle the scores. Romeo is insulted by Tybalt and still refuses to fight. And when Mercutio says “I was hurt under your arm”  That Romeo wanted revenge. This shows us that Romeo is noble but will not stand for his friend’s loss.

At the end of Act 3 Scene 1 the Prince, Lady Capulet and Montague arrive at the massacre and turn to Benvolio for answers. Benvolio recites the events but Lady Capulet doesn’t believe him and wants Romeo killed. Montague objects to the killing of Romeo. The Prince orders Romeo to be banished from Verona.

In my opinion the two heads of houses, Montague and Capulet are most to blame for the killings. If they laid there differences aside from the beginning the new generation would not have been publicly clashing. They should use force as a last resort. Romeo and Juliet’s deaths were the only thing that brought the ancient war to an end.

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• Word Count 1048
• Page Count 2
• Subject English

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