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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.

• About Romeo and Juliet
• Romeo and Juliet Summary
• Romeo and Juliet Video
• Character List

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

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Romeo and Juliet
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Romeo and Juliet Bibliography

E-Text of Romeo and Juliet

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

• List of Characters

Wikipedia Entries for Romeo and Juliet

• Introduction
• Date and text

Romeo and Juliet Act 3, Scene 1 Summary

• Things are starting to heat up—as they usually do in Act 3 of Shakespeare's plays. Benvolio and Mercutio are hanging out as usual, trading insults and mocking the Capulets.
• Trouble materializes in the form of Tybalt, who is trying to find Romeo so he can get back at him for crashing the Capulet party.
• Tybalt provokes Mercutio by saying "Mercutio, thou consortest with Romeo," which means "You're a known associate/friend of Romeo." It also kind of implies that Romeo and Mercutio are sleeping together.
• Mercutio responds that he's going to make Tybalt "dance" with his "fiddlestick" (his sword) and yes, there's a sexual innuendo at work here, swords being phallic symbols and all.
• Benvolio, who wants everyone to be friends, warns the guys not to fight in public.
• And then in stroll the just-married Romeo.
• Insults are exchanged, but Romeo remembers that Tybalt is his new wife's cousin, so he turns the other cheek.
• Mercutio finds this totally shocking—actually dishonorable—so he offers to fight Tybalt instead.
• So they fight. Romeo tries to intervene, but Tybalt stabs Mercutio.
• Romeo and Benvolio assume that Mercutio hasn't been badly hurt because he starts joking about his wound—but it's no joke. He's dying.
• He then gives us the famous line, "A plague on both your houses," and then turns to BFF Romeo and says, "Why the devil came you between us? I was hurt under your arm," he says. A minute later, he is dead.
• Romeo blames himself for Mercutio's death and laments that his love for "sweet Juliet" "hath made [him] effeminate" [a girly wimp]. So, he decides to man up.
• By challenging Tybalt to a duel.
• And killing him.

• Benvolio tells him to run away before the Prince captures him, and Romeo gets away just before all the citizens of Verona miraculously show up at the scene of the duel.
• The Prince arrives and is, uh, a little angry. Remember how he said that anyone caught fighting would die?
• After Benvolio explains what happened, Lady Capulet demands to Romeo be killed.
• But Lord Montague argues that Tybalt got what was coming to him for killing Mercutio.
• The Prince comes up with a solution: because Tybalt started the fight, he'll spare Romeo's life. But he rules that Romeo must be banished from Verona.
• Man, and he was just getting ready for his honeymoon.

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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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Romeo and Juliet

By william shakespeare, act 3, scene 1.

• Year Published: 1597
• Language: English
• Country of Origin: United States of America
• Source: Shakespeare, W. Romeo and Juliet New York: Sully and Kleinteich
• Flesch–Kincaid Level: 11.0
• Word Count: 1,729
• Genre: Tragedy
• Keywords: 16th century literature, british literature, drama, romance, tragedy
• ✎ Cite This
• Passage PDF

Shakespeare, W. (1597). Act 3, Scene 1. Romeo and Juliet (Lit2Go Edition). Retrieved May 07, 2024, from https://etc.usf.edu/lit2go/201/romeo-and-juliet/4343/act-3-scene-1/

Shakespeare, William. "Act 3, Scene 1." Romeo and Juliet . Lit2Go Edition. 1597. Web. https://etc.usf.edu/lit2go/201/romeo-and-juliet/4343/act-3-scene-1/ >. May 07, 2024.

William Shakespeare, "Act 3, Scene 1," Romeo and Juliet , Lit2Go Edition, (1597), accessed May 07, 2024, https://etc.usf.edu/lit2go/201/romeo-and-juliet/4343/act-3-scene-1/ .

SCENE. A public place.

(Enter MERCUTIO, BENVOLIO, Page, and Servants)

BENVOLIO 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.

MERCUTIO 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.

BENVOLIO Am I like such a fellow?

MERCUTIO 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.

BENVOLIO And what to?

MERCUTIO 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 fun of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarrelling: thou hast quarrelled 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 riband? and yet thou wilt tutor me from quarrelling!

BENVOLIO 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.

MERCUTIO The fee-simple! O simple!

BENVOLIO By my head, here come the Capulets.

MERCUTIO By my heel, I care not.

(Enter TYBALT and others)

TYBALT Follow me close, for I will speak to them. Gentlemen, good den: 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.

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

MERCUTIO Could you not take some occasion without giving?

TYBALT Mercutio, thou consort'st with Romeo,--

MERCUTIO 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!

BENVOLIO 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.

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

(Enter ROMEO)

TYBALT Well, peace be with you, sir: here comes my man.

MERCUTIO 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.'

TYBALT Romeo, the hate I bear thee can afford No better term than this,--thou art a villain.

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

ROMEO 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.

MERCUTIO O calm, dishonourable, vile submission! Alla stoccata carries it away.

Tybalt, you rat-catcher, will you walk?

TYBALT What wouldst thou have with me?

MERCUTIO 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, drybeat the rest of the eight. Will you pluck your sword out of his pitcher by the ears? make haste, lest mine be about your ears ere it be out.

TYBALT I am for you.

ROMEO Gentle Mercutio, put thy rapier up.

MERCUTIO Come, sir, your passado.

(They fight)

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!

(TYBALT under ROMEO's arm stabs MERCUTIO, and flies with his followers)

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

BENVOLIO What, art thou hurt?

MERCUTIO Ay, ay, a scratch, a scratch; marry, 'tis enough. Where is my page? Go, villain, fetch a surgeon.

(Exit Page)

ROMEO Courage, man; the hurt cannot be much.

MERCUTIO No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough,'twill serve: ask for me to-morrow, 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.

ROMEO I thought all for the best.

MERCUTIO 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!

(Exeunt MERCUTIO and BENVOLIO)

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!

(Re-enter BENVOLIO)

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

ROMEO This day's black fate on more days doth depend; This but begins the woe, others must end.

BENVOLIO Here comes the furious Tybalt back again.

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 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.

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

ROMEO This shall determine that.

They fight; TYBALT falls

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!

ROMEO O, I am fortune's fool!

BENVOLIO Why dost thou stay?

(Exit ROMEO)

(Enter Citizens, & c)

First Citizen Which way ran he that kill'd Mercutio? Tybalt, that murderer, which way ran he?

BENVOLIO There lies that Tybalt.

First Citizen Up, sir, go with me; I charge thee in the princes name, obey.

(Enter Prince, attended; MONTAGUE, CAPULET, their Wives, and others)

PRINCE Where are the vile beginners of this fray?

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.

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!

PRINCE Benvolio, who began this bloody fray?

BENVOLIO 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 bow'd, 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 entertain'd 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.

LADY CAPULET 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.

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

MONTAGUE Not Romeo, prince, he was Mercutio's friend; His fault concludes but what the law should end, The life of Tybalt.

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.

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Romeo & Juliet - Act 3 Scene 1

How does Shakespeare create tension in Act 3 Scene 1 of Romeo and Juliet?

“Romeo and Juliet” is one of the most famous plays written by Shakespeare, it is famous for its intense romance. It was written in the 17 th  century and by reading the play it is quite obvious that people at that time had very different views on life than the present time. At the time of Shakespeare, religion was an extremely serious matter, things such as honour and the importance of family were extremely valued and any that went against or ridiculed these beliefs were considered criminals. For these reasons Shakespeare decided he would set the entire play in Italy to avoid confrontation from the people. The main scene of the play will be analysed, Act 3 Scene 1, in this scene the mood of the play changes from happiness to sadness and changes the whole play, making it a key scene in “Romeo and Juliet”. The techniques used by Shakespeare, such as pathetic fallacy, to create tension in this dramatic part of the play will also be analysed.

Before this scene there is already a certain degree of tension throughout the play; the most obvious one is before the beginning, the prologue, which tells the audience that this story will end in tragedy, thus ultimately death. In Act 1 Scene 1 there is a fight between the two houses Capulet and Montague, in this scene there is a lot of tension and hatred “What, drawn and talk peace? I hate the word, as I hate hell, all Montagues, and thee. Have at thee coward.” In this scene it also shows how easily the two houses can start a brawl with no concern for the civilian lives. The brawl is interrupted by the Prince, who states that if there is anymore fighting between the houses the house responsible will suffer the death penalty; the tension created at this point is recalled throughout all of the play. The play develops and becomes quite confusing for the audience, Romeo states he is out of love and then later on within seconds falls in love with Juliet at the Capulet’s party, there is also an abundant amount of tension when Romeo and his friends go to their most hated house’s party without an invitation. After Romeo falls in love, Romeo discovers that Juliet is a Capulet; even so he decides to risk his life just to see Juliet later on in Act 2 Scene 2.

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The events described in the previous paragraph create a lot of tension early on in the play. At the beginning of Act 3 Scene 1 the fear of Benvolio encountering the Capulets in public is apparent “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, is the mad blood stirring” this is a perfect example of a pathetic fallacy, this is a technique used by Shakespeare to give inanimate objects, such as the weather, human emotions, this helps the audience understand better the mood of the scene. In this case Shakespeare uses the weather to represent Benvolio’s fear. Benvolio uses the weather to try and convince Mercutio to retire because he knows that is they have an encounter with the Capulets a fight will surely follow. From the use of this technique the audience is given an insight of the fear and tension the characters are feeling at that particular moment. Despite these warnings Mercutio refuses to leave because he is not scared of an encounter with the Capulets. Mercutio then criticizes his fear and points out how Benvolio was always involved in the previous fights between the houses, this particular part of the scene creates a lot of tension and Mercutio’s willingness to stay increases it further.

It is also interesting to note the setting chosen by Shakespeare. “Romeo and Juliet” is set in Verona in Italy, at the time things such as love were not acceptable on stage. Shakespeare moved it to Italy to avoid confrontation and scepticism from the audience and authorities. Many had never travelled before and getting a glimpse of what happened outside of the country was extremely interesting, this factor gave even more attention at that time to this play.

At the beginning of the scene only Benvolio and Mercutio are there, the tension is rising because of Mercutio’s refusal to go home. When Tybalt and the Capulets arrive there is a major increase in tension because there will surely be a fight, as they start to argue and then eventually start to fight there is a great amount of tension. When Romeo enters the tension starts to increase rapidly as Tybalt approaches him after disregarding the fight with Mercutio. Tybalt starts to fight Romeo, which results in the death of Mercutio, because of this Romeo is infuriated and kills Tybalt when he returns.

Mercutio is a very humorous and energetic character and is always quite happy to fight; this is probably because he is of neither houses and thus plays a very neutral part in the play. He is also related to the Prince and probably believes he will not get involved between the fights of the two houses. Because of this behaviour he often puts other characters in danger, especially in this scene when he refuses to leave to avoid a fight. Mercutio loves to play with words and can easily anger people with his jousting. Mercutio’s jousting and carelessness for a fight is very dangerous because if a fight arose between the two houses nobody would try to stop them, this situation creates further tension. Mercutio seems to enjoy the amount of tension increasing and is part of his personality. The knowledge of the major possibility of a fight starting alone creates a lot of tension; another thing that creates tension is the knowledge that whichever house starts the fight will be punished by the death penalty. The audience knows that the play will end in death and thus the tension builds up when the scenario of a possible tragedy is apparent, this is called dramatic irony.

The language used by Shakespeare is the main cause of tension during this scene. One of the best examples of language used are the phrases used by Mercutio towards Tybalt ‘thou art a villain’, ‘Good king of cats’, ‘by my heal I care not’, ‘A plague a’both your houses!” Those are some of the many quotes of language used by Shakespeare to create tension. When Mercutio and Tybalt encounter each other a verbal fight breaks out, Shakespeare uses these two contrasting characters to create tension. Whilst they insult each other the audience know this is going to escalate into a fight and thus tension is created. Although Shakespeare’s language is elaborate it is apparent that they are insulting each other, and through the escalation of tension the audience comes to realise that the prophecy that was said in the prologue is about to become true.

Benvolo is very important character in the play. He takes the part of the narrator in most scenes; he also helps recap events when there is a fast paced scene. He told the Prince what happened when the two houses clashed and Mercutio and Tybalt died. His helps the audience have a better understanding of the play and makes it easier to understand. He keeps the audience “up to date” and helps the tension remain throughout the play. A interesting thing to note is that characters of high rank always talk in riming couplets, this is Shakespeare’s way to tell the audience they are important. Although it is not a major role Benvolio’s part is helpful for the understanding of the play.

Shakespeare uses a lot of techniques to create tension. Pathetic fallacy is when inanimate objects reflect human emotions, for example, as I said before, the weather in Act 3 Scene 1. Another technique used is dramatic irony; this is when the audience know something that the characters don’t know such as Romeo and Juliet’s marriage, which ultimately led to everyone’s death. Another technique, which I have not mentioned, is juxtaposition, which is when there are two contrasting emotions which closely follow each other, for example when Romeo and Juliet get married it is very happy, then when everyone died it was sad. Using these techniques Shakespeare has created a truly compelling, fascinating and deeply emotional piece which is appreciated by everyone around the globe.

Document Details

• Word Count 1436
• Page Count 3
• Subject English

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Romeo & Juliet Act 3 Lessons Scheme

Subject: English

Age range: 14-16

Resource type: Unit of work

Last updated

27 April 2024

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Lesson resources for studying Act 3 of Romeo and Juliet at GCSE level, featuring prompt questions to guide students to examine key details of each scene, recall and retrieval activities and analytical writing practice.

This is part of my full Romeo & Juliet scheme. https://www.tes.com/teaching-resource/resource-13025768

5 powerpoint presentations clearly structuring 6 lessons for detailed study of all of Act 1, and accompanying resources. Includes: Recall, retrieval, recap activities. Model analysis. Peer/Self assessment and improvement. Dyslexia friendly pastel colours.

Suitable for study of GCSE English Literature with any exam board. Model analysis and references to assessement objectives were written with AQA specification in mind.

Targeted at students aiming for the higher grades: model analysis targets high quality writing, scene study looks at a detailed level and activities are structured to prompt students to formulate ideas independently before then discussing with classmates and teacher.

Try before your buy: Act 1 available as a free sample: https://www.tes.com/teaching-resource/resource-13025741

If you enjoy, please review :-)

Lots more English study and revision resources on the @MrRoyTeach store: https://www.tes.com/teaching-resources/shop/CalumRoy

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