Quotations are presented using the following format:
(Act.Scene.Line Number)
For example, (1.5.76) would say that the quotation is taken from Act 1, scene 5, line 76)
As they walk in the street under the boiling sun, Benvolio suggests to Mercutio that they go indoors, fearing that a brawl will be unavoidable should they encounter Capulet men. Mercutio replies that Benvolio has as quick a temper as any man in Italy, and should not criticize others for their short fuses.
Tybalt enters with a group of cronies. He approaches Benvolio and Mercutio and asks to speak with one of them. Annoyed, Mercutio begins to taunt and provoke him.
Romeo enters. Tybalt turns his attention from Mercutio to Romeo, and calls Romeo a villain. Romeo, now secretly married to Juliet and thus Tybalt’s kinsman, refuses to be angered by Tybalt’s verbal attack. Tybalt commands Romeo to draw his sword. Romeo protests that he has good reason to love Tybalt, and does not wish to fight him. He asks that until Tybalt knows the reason for this love, he put aside his sword. Mercutio angrily draws his sword and declares with biting wit that if Romeo will not fight Tybalt, he will.
Mercutio and Tybalt begin to fight. Romeo, attempting to restore peace, throws himself between the combatants. Tybalt stabs Mercutio under Romeo’s arm, and as Mercutio falls, Tybalt and his men hurry away. Mercutio dies, cursing both the Montagues and the Capulets: “A plague o’ both your houses” (3.1.87), and still pouring forth his wild witticisms: “Ask for me tomorrow, and / you shall find me a grave man” (3.1.93–94). Enraged, Romeo declares that his love for Juliet has made him effeminate, and that he should have fought Tybalt in Mercutio’s place.
When Tybalt, still angry, storms back onto the scene, Romeo draws his sword. They fight, and Romeo kills Tybalt. Benvolio urges Romeo to run; a group of citizens outraged at the recurring street fights is approaching. Romeo, shocked at what has happened, cries “O, I am fortune’s fool!” and flees (3.1.131).
The Prince enters, accompanied by many citizens, and the Montagues and Capulets. Benvolio tells the Prince the story of the brawl, emphasizing Romeo’s attempt to keep the peace, but Lady Capulet, Tybalt’s aunt, cries that Benvolio is lying to protect the Montagues. She demands Romeo’s life. Prince Escalus chooses instead to exile Romeo from Verona. He declares that if Romeo is found within the city, he will be killed.
The sudden, fatal violence in the first scene of Act 3, as well as the build-up to the fighting, serves as a reminder that, for all its emphasis on love, beauty, and romance, Romeo and Juliet still takes place in a masculine world in which notions of honour, pride, and status are prone to erupt in a fury of conflict.
The viciousness and dangers of the play’s social environment are dramatic tools that Shakespeare employs to make the lovers’ romance seem even more precious and fragile—their relationship is the audience’s only respite from the brutal world pressing against their love. The fights between Mercutio and Tybalt and then between Romeo and Tybalt are chaotic; Tybalt kills Mercutio under Romeo’s arm, flees, and then suddenly, and inexplicably, returns to fight Romeo, who kills him in revenge. Passion outweighs reason at every turn.
Romeo’s cry, “O, I am fortune’s fool!” refers specifically to his unluckiness in being forced to kill his new wife’s cousin, thereby getting himself banished (3.1.131). It also recalls the sense of fate that hangs over the play. Mercutio’s response to his fate, however, is notable in the ways it diverges from Romeo’s response. Romeo blames fate, or fortune, for what has happened to him. Mercutio curses the Montagues and Capulets. He seems to see people as the cause of his death, giving no credit to any larger force.
Elizabethan society generally believed that a man who was too much in love lost his manliness. Romeo clearly subscribes to that belief, as can be seen when he states that his love for Juliet had made him “effeminate.” Once again, however, this statement can be seen as a battle between the private world of love and the public world of honour, duty, and friendship. The Romeo who duels with Tybalt is the Romeo who Mercutio would call the “true” Romeo. The Romeo who sought to avoid confrontation out of concern for his wife is the person Juliet would recognize as her loving Romeo. The word "effeminate" is applied by the public world of honour upon those things it does not respect. In using the term to describe his present state, Romeo accepts the responsibilities thrust upon him by the social institutions of honour and family duty.
The arrival of the Prince and the angry citizens shifts the focus of the play to a different sort of public sphere. Romeo’s killing of Tybalt is marked by rashness and vengeance, characteristics prized by noblemen, but which threaten the public order that citizens desire and the Prince has a responsibility to uphold. As one who has displayed such traits, Romeo is banished from Verona.
Earlier, the Prince acted to repress the hatred of the Montagues and the Capulets in order to preserve public peace; now, still acting to avert outbreaks of violence, the Prince unwittingly acts to thwart the love of Romeo and Juliet. Consequently, with their love censured not only by the Montagues and Capulets but by the ruler of Verona, Romeo and Juliet’s relationship puts Romeo in danger of violent reprisal from both Juliet’s kinsmen and the state.
In Capulet’s house, Juliet longs for night to fall so that Romeo will come to her “untalked of and unseen” (3.2.7). Suddenly the Nurse rushes in with news of the fight between Romeo and Tybalt. But the Nurse is so distraught, she stumbles over the words, making it sound as if Romeo is dead. Juliet assumes Romeo has killed himself, and she resigns to die herself. The Nurse then begins to moan about Tybalt’s death, and Juliet briefly fears that both Romeo and Tybalt are dead. When the story is at last straight and Juliet understands that Romeo has killed Tybalt and been sentenced to exile, she curses nature that it should put “the spirit of a fiend” in Romeo’s “sweet flesh” (3.2.81–82).
The Nurse echoes Juliet and curses Romeo’s name, but Juliet denounces her for criticizing her husband, and she adds that she regrets faulting him herself. Juliet claims that Romeo’s banishment is worse than ten thousand slain Tybalts. Juliet laments that she will die without a wedding night, a maiden-widow. The Nurse assures her, however, that she knows where Romeo is hiding and will see to it that Romeo comes to her for their wedding night. Juliet gives the Nurse a ring to give to Romeo as a token of her love.
The love between Romeo and Juliet, blissful in Act 2, is tested under dire circumstances as the conflict between their families takes a turn more disastrous than either could have imagined. The different ways in which the young lovers respond to their imminent separation help define the essential qualities of their respective characters. After hearing that he is to be exiled, Romeo acts with customary drama: he is grief-stricken and overcome by his passion. He collapses on the floor. Romeo refuses to listen to reason and threatens to kill himself. Juliet, on the other hand, displays significant progress in her development from the simple, innocent girl of the first act to the brave, mature, and loyal woman of the play’s conclusion. After criticizing Romeo for his role in Tybalt’s death, and hearing the Nurse malign Romeo’s name, Juliet regains control of herself and realizes that her loyalty must be to her husband rather than to Tybalt, her cousin.
Shakespeare creates an interesting psychological tension in Romeo and Juliet by consistently linking the intensity of young love with a suicidal impulse. Though love is generally the opposite of hatred, violence, and death, Shakespeare portrays self-annihilation as seemingly the only response to the overwhelming emotional experience of being young and in love. Romeo and Juliet seem to flirt with the idea of death throughout much of the play, and the possibility of suicide recurs often, foreshadowing the eventual deaths of the lovers in Act 5. When Juliet misunderstands the Nurse and thinks that Romeo is dead, she does not think that he was killed, but that he killed himself. And thinking that Romeo is dead, Juliet quickly decides that she too must die. Her love for Romeo will allow no other course of action.
In Friar Lawrence’s cell, Romeo is overcome with grief and wonders what sentence the Prince has decreed. Friar Lawrence tells him he is lucky: the Prince has only banished him. Romeo claims that banishment is a penalty far worse than death, since he will have to live, but without Juliet. The friar tries to counsel Romeo, but the youth is so unhappy that he will have none of it. Romeo falls to the floor. The Nurse arrives, and Romeo desperately asks her for news of Juliet. He assumes that Juliet now thinks of him as a murderer and threatens to stab himself. Friar Lawrence stops him and scolds him for being unmanly. He explains that Romeo has much to be grateful for: he and Juliet are both alive, and after matters have calmed down, Prince Escalus might change his mind. The friar sets forth a plan: Romeo will visit Juliet that night, but make sure to leave her chamber, and Verona, before the morning. Romeo will then reside in Mantua until news of their marriage can be spread. The Nurse hands Romeo the ring from Juliet, and this physical symbol of their love revives his spirits. The Nurse departs, and Romeo bids Friar Lawrence farewell. He must prepare to visit Juliet and then flee to Mantua.
Romeo’s actual threat of suicide in Friar Lawrence’s cell, in which he desires to “sack / The hateful mansion” (3.3.106–107) that is his body so that he may eradicate his name, recalls the balcony scene, in which Romeo scorns his Montague name in front of Juliet by saying, “Had I it written, I would tear the word” (2.1.99). In the balcony scene, a name seemed to be a simple thing that he could hold up in front of him and tear. Once torn, he could easily live without it. Now, with a better understanding of how difficult it is to escape the responsibilities and claims of family loyalty, of being a Montague, Romeo modifies his metaphor. No longer does he conceive of himself as able to tear his name. Instead, now he must rip it from his body, and, in the process, die.
Capulet, Lady Capulet, and Paris walk together. Capulet says that because of the terrible recent events, he has had no time to ask his daughter about her feelings for Paris. Lady Capulet states that she will know her daughter’s thoughts by the morning. Paris is about to leave when Capulet calls him back and makes what he calls “a desperate tender of my child’s love” (3.4.12–13). Capulet says he thinks his daughter will listen to him, then corrects himself and states that he is sure Juliet will abide by his decision. He promises Paris that the wedding will be held on Wednesday, then stops suddenly and asks what day it is. Paris responds that it is Monday; Capulet decides that Wednesday is too soon and that the wedding should instead be held on Thursday.
Capulet’s reasons for moving up the date of Juliet’s marriage to Paris are not altogether clear. In later scenes, he states that he desires to bring some joy into a sad time, and to want to cure Juliet of her deep mourning (of course, ironically, she mourns her husband’s banishment and not Tybalt’s death). But it is also possible that in this escalating time of strife with the Montagues, Capulet wants all the political help he can get. A marriage between his daughter and Paris, a close kinsman to the Prince, would go a long way in this regard. Regardless of Capulet’s motivation, his decision makes obvious the powerlessness of women in Verona. Juliet’s impotence in this situation is driven home by the irony of Capulet’s determination to push the wedding from Wednesday to Thursday when a few days earlier he wanted to postpone the wedding by two years.
Just before dawn, Romeo prepares to lower himself from Juliet’s window to begin his exile. Juliet tries to convince Romeo that the birdcalls they hear are from the nightingale, a night bird, rather than from the lark, a morning bird. Romeo cannot entertain her claims; he must leave before the morning comes or be put to death. Juliet declares that the light outside comes not from the sun, but from some meteor. Overcome by love, Romeo responds that he will stay with Juliet, and that he does not care whether the Prince’s men kill him. Faced with this turnaround, Juliet declares that the bird they heard was the lark; that it is dawn and he must flee.
The Nurse enters to warn Juliet that Lady Capulet is approaching. Romeo and Juliet tearfully part. Romeo climbs out the window. Standing in the orchard below her window, Romeo promises Juliet that they will see one another again, but Juliet responds that he appears pale, as one dead in the bottom of a tomb. Romeo answers that, to him, she appears the same way, and that it is only sorrow that makes them both look pale. Romeo hurries away as Juliet pulls in the ladder and begs fate to bring him back to her quickly.
Lady Capulet calls to her daughter. Juliet wonders why her mother would come to speak to her so early in the morning. Unaware that her daughter is married to Romeo, Lady Capulet enters the room and mistakes Juliet’s tears as continued grief for Tybalt. Lady Capulet tells Juliet of her deep desire to see “the villain Romeo” dead (3.5.80). In a complicated bit of punning every bit as impressive as the sexual punning of Mercutio and Romeo, Juliet leads her mother to believe that she also wishes Romeo’s death, when in fact she is firmly stating her love for him.
Lady Capulet tells Juliet about Capulet’s plan for her to marry Paris on Thursday, explaining that he wishes to make her happy. Juliet is appalled. She rejects the match, saying “I will not marry yet; and when I do, I swear / It shall be Romeo—whom you know I hate— / Rather than Paris” (3.5.121–123). Capulet enters the chamber. When he learns of Juliet’s determination to defy him, he becomes enraged and threatens to disown Juliet if she refuses to obey him. When Juliet entreats her mother to intercede, her mother denies her help.
After Capulet and Lady Capulet storm away, Juliet asks her nurse how she might escape her predicament. The Nurse advises her to go through with the marriage to Paris—he is a better match, she says, and Romeo is as good as dead anyhow. Though disgusted by her nurse’s disloyalty, Juliet pretends to agree, and tells her nurse that she is going to make confession at Friar Lawrence’s. Juliet hurries to the friar, vowing that she will never again trust the Nurse’s counsel. If the friar is unable to help her, Juliet comments to herself, she still has the power to take her own life.
To combat the coming of the light, Juliet attempts once more to change the world through language: she claims the lark is truly a nightingale. Where in the balcony scene Romeo saw Juliet as transforming the night into day, here she is able to transform the day into the night. But just as their vows to throw off their names did not succeed in overcoming the social institutions that have plagued them, they cannot change time. As fits their characters, it is the more pragmatic Juliet who realizes that Romeo must leave; he is willing to die simply to remain by her side.
In a moment reminiscent of the balcony scene, once outside, Romeo bids farewell to Juliet as she stands at her window. Here, the lovers experience visions that blatantly foreshadow the end of the play. This is to be the last moment they spend alive in each other’s company. When Juliet next sees Romeo he will be dead, and as she looks out of her window she seems to see him dead already: “O God, I have an ill-divining soul! / Methinks I see thee, now thou art so low, / As one dead in the bottom of a tomb. / Either my eyesight fails, or thou look’st pale” (3.5.54–57).
In the confrontation with her parents after Romeo’s departure, Juliet shows her full maturity. She dominates the conversation with her mother, who cannot keep up with Juliet’s intelligence and therefore has no idea that Juliet is proclaiming her love for Romeo under the guise of saying just the opposite. Her decision to break from the counsel of her disloyal nurse—and in fact to exclude her nurse from any part in her future actions—is another step in her development. Having a nurse is a mark of childhood; by abandoning her nurse and upholding her loyalty toward her husband, Juliet steps fully out of girlhood and into womanhood.
Shakespeare situates this maturation directly after Juliet’s wedding night, linking the idea of development from childhood to adulthood with sexual experience. Indeed, Juliet feels so strong that she defies her father, but in that action she learns the limit of her power. Strong as she might be, Juliet is still a woman in a male-dominated world. One might think that Juliet should just take her father up on his offer to disown her and go to live with Romeo in Mantua. That is not an option. Juliet, as a woman, cannot leave society; and her father has the right to make her do as he wishes. Though defeated by her father, Juliet does not revert to being a little girl. She recognizes the limits of her power and, if another way cannot be found, determines to use it: for a woman in Verona who cannot control the direction of her life, suicide, the brute ability to live or not live that life, can represent the only means of asserting authority over the self.