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William ShakespeareA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Mercutio and Benvolio are wandering the streets of Verona. Benvolio is trying to persuade Mercutio to get out of the sun; it’s a hot day, and the Capulets are roaming around. However, Mercutio teases the peaceful Benvolio, calling him a hothead.
They’re interrupted when the Capulets arrive. Mercutio, still in a temper, starts verbally sparring with Tybalt, trying to provoke him. Tybalt doesn’t want to fight Mercutio; instead, he’s after Romeo, and when Romeo arrives, Tybalt challenges him to a fight. Newlywed Romeo has no interest in fighting his wife’s cousin and tries to make peace. However, this only enrages Tybalt—and Mercutio too, who sees Romeo’s refusal to fight as capitulation.
Mercutio calls out to Tybalt: “Tybalt, you ratcatcher, will you walk?” (III.1.76). The two fight. Benvolio and Romeo try to separate them, and in the confusion, Tybalt mortally wounds Mercutio. Mercutio speaks of his injuries and dies cursing the houses of Capulet and Montague alike:
No, [the wound is] not so deep as a well, nor so wide as a church door, but ’tis enough. ’Twill serve. Ask for me tomorrow, and you will find me a grave man. I am peppered, I warrant, for this world. A plague o’ both your houses! (III.1.100-04).
Enraged and grief-stricken, Romeo pursues Tybalt; they fight, and Romeo kills Tybalt. Now under a sentence of death from the Prince, Romeo cries, “O, I am Fortune’s fool!” (III.1.142). Benvolio urges him to run away. When the Prince and the Capulets turn up, Benvolio explains to them what has happened. The Prince declares that Romeo is exiled; if Romeo ever shows his face in Verona again, he’ll be killed.
Juliet, unaware of all that has happened, is waiting impatiently at home for Romeo to come and celebrate their wedding night. She begs the sun to hurry up and set:
Lovers can see to do their amorous rites
By their own beauties, or, if love be blind,
It best agrees with night [...]
Come, gentle night; come, loving black-browed night (III.2.8-11).
The Nurse arrives, wailing, and delivers the terrible news: Romeo has killed Tybalt. Juliet is distraught. At first, she curses Romeo’s name, but as soon as the Nurse speaks ill of him, she reverses course: “Shall I speak ill of him that is my husband?” (III.2.106). She loses herself in grief, less over Tybalt’s death than over Romeo’s banishment. She bewails the power of that one word, “banished.” She vows to take to her bed and die. The Nurse says she’ll go find Romeo and bring him to comfort her.
Romeo is with Friar Lawrence, bewailing his fate. He turns the word “banished” over and over, seeing it as the worst possible thing that could happen to him: “O Friar, the damned use that word in hell” (III.3.50). Friar Lawrence counsels him to be patient: If he’s not dead, there’s hope.
The Nurse appears to fetch Romeo. She tells them that Juliet is in much the same state as Romeo, wailing and weeping. Romeo draws his dagger to stab himself, but Friar Lawrence exasperatedly holds him back and points out all the good luck that has come their way: Juliet is alive, and Romeo is alive and not under the sentence of death, meaning they will see each other again. He tells Romeo to go to Juliet and then to flee to Mantua in the morning. Romeo, relieved, agrees.
Lord and Lady Capulet speak to Paris of their family’s misfortune and agree to hurry forward Juliet’s wedding to him. It’s Monday now; they’ll celebrate the marriage on Thursday morning. Paris speaks of his eagerness, and Capulet sends him away. Lady Capulet readies to tell Juliet to prepare for her wedding.
The next morning, Romeo and Juliet wake up in bed together. They’re reluctant to let each other go and trade words about whether the birds they’re hearing are nightingales (birds of the night, which mean they can be together) or larks (birds of the morning, which mean they have to part). At first, Romeo insists they’re larks, and Juliet nightingales. Then Juliet remembers that Romeo is under the threat of death and changes her mind: “Some say the lark makes sweet division. / This doth not so, for she divideth us” (III.5.29-30).
The Nurse comes in and hurries Romeo away. Romeo climbs out the window, and the lovers exchange a slow, tortured farewell. Juliet has a foreboding vision: “Methinks I see thee, now thou art so low, / As one dead in the bottom of a tomb” (III.5.55-56). At last, Romeo departs for Mantua.
Lady Capulet appears and tells Juliet that she’s going to be married to Paris on Thursday. Juliet, outraged, declares that she won’t do it: “Now by Saint Peter’s Church, and Peter too, / He shall not make me there a joyful bride!” (III.5.121-22). Lord Capulet appears and flies into a rage at Juliet’s disobedience. He says he’ll disown her if she doesn’t agree to marry Paris. The weeping Juliet turns to her mother for comfort, but Lady Capulet offers none.
At last, Juliet falls into the arms of the Nurse. The Nurse advises her to be reasonable: Romeo’s banished, so she should marry Paris. After all, he’s very handsome. Horrified by this betrayal, Juliet withdraws and runs to Friar Lawrence.
Shakespearean plays follow a five-act structure, with the third act conventionally serving as the climax. Romeo and Juliet is no exception. Act III changes the whole tenor of the play. Though the Prologue explicitly informs the audience of the lovers’ fate, and though ominous dreams and word choice persistently foreshadow their deaths, the actual plot resembles a comedy—i.e., a story that ends in marriage. The deaths of Mercutio and Tybalt transform this plot into a tragedy. Act III is the fulcrum of the play, and it makes clear the real stakes of human passions: Even feelings that are shifting and changeable have real consequences in the world.
Mercutio in particular plays an important part in setting off the chain of events that leads to the story’s terrible ending. Mercutio’s death comes as a twist. Until now, he’s been a figure of comic relief—an elegant clown who’s there to puncture the absurdities of his lovelorn friend. The loss of Mercutio symbolically marks the end of levity and makes death real. If even a word-bender so attuned to the ridiculousness of humanity is mortal, then no one is safe. Compounding the tragedy is the nature of his death. Mercutio is neither a Capulet nor a Montague, and his death is accidental; hot-tempered as he is, Tybalt does not intend to kill him. In a further irony, Mercutio receives his fatal wound because Romeo is trying to make peace between him and Tybalt. This push for reconciliation is exactly the effect Friar Lawrence hoped Romeo and Juliet’s marriage would have, but it backfires disastrously. The senselessness of Mercutio’s death exposes the Empty Rivalry and Feud that exists between the two houses. Tybalt aside, the feud does not involve much actual rancor, as evidenced by the fact that Lord Capulet accepts Romeo and his friends’ presence at the ball. However, everyone involved in the feud is determined to keep it going, with deadly results.
The events of Act III unravel steadily from this point, often in ways that underscore the unreliability that Mercutio was always so quick to point out. One by one, the adults around Romeo and Juliet prove that they are just as temperamental, passionate, and changeable as their children—often more so. Juliet remains loyal to Romeo even after he kills her cousin; however, even the uncomplicatedly loving Nurse proves herself a betrayer when she suggests Juliet not only abandon her new husband but commit bigamy.
Meanwhile, the play continues to explore The Beauty and Danger of Love. Even as she imagines finally consummating her love with Romeo, Juliet thinks of death:
Give me my Romeo; and, when I 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 (III.2.23-27).
Here, the linkage between love and death is most clear. To “die” was sometimes a metaphor for orgasm: There’s a sense that Juliet’s experience of sexuality has in it the same loss of self that death brings. That loss of self comes equally to Romeo in this image: His imagined death makes him into the stars—beautiful, but no longer himself.
By William Shakespeare