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The optimistic tone of Act II, which graces the union between Romeo and Juliet through their marriage, significantly changes at the beginning of Act III due to the fight that breaks out between the families of Capulet and Montague. These few lines dramatically shift the play into a tragedy, a juxtaposition from what it was before, a romantic comedy. The previous night, which embodied peace and love is overshadowed by the great violence and scorching temper that ultimately results in the death of Mercutio, and Romeo and Juliet’s intimate relationship is thrown into the midst of this conflict. This event results in a dramatic turn of events within the play.
Shakespeare presents the juxtaposition between characters Tybalt and Romeo through their contrasting speech which corresponds to their demeanour. On the one hand, Romeo expresses love, and on the other Tybalt, exerts his masculine hatred. To the reader, it is evident that Romeo is vulnerable, especially comparing him to the hatred that has engulfed Tybalt. Evidence of this can be seen in Romeo’s response to Tybalt when he challenges him to a fight. He says, ‘But love thee better than thou canst devise.’ This statement can be considered ironic since Romeo’s peaceful words are what fuels the duel and hasten the violence, contradictory to Romeo’s intentions. Shakespeare’s use of toxic masculinity creates moral flaws in the characters, as their despisal against each other causes them to falter. Tybalt’s later response of ‘thou art a villain’ suggests dramatic irony in the language used since there is disparity amongst the use of the second person pronoun. It is interesting to note how this hatred would have been expressed by the characters on stage, (since the play was written to be performed on stage) through their expressions and the seriousness in their tone. Romeo’s refusal to fight sparks repulsion in Mercutio, ‘dishonourable, vile submission!’, and Shakespeare’s use of sibilance strengthens Mercutio’s disgust.
Italy did not have a particular social hierarchy (unlike British society) and was split into 2 large groups: the nobility (princes and lords) and everyone else. However, by the early 16th century a new class had emerged which consisted of the newly rich upper class that was formed through merchants taking their wealth and buying titles, despite the fact they did not have noble blood. Tybalt emphasizes the influence of social hierarchy in 16th-century Verona. The two feuding families fall into this category. Tybalt uses the imperatives ‘you’…’ sir’ when speaking to Mercutio. This implies that Tybalt is mindful of Mercutio’s dominance in society since he is a kinsman to the Prince. Despite Mercutio’s provoking comments and intentional attacks, Tybalt diverts his attention to Romeo, ‘here comes my man’. It can be argued that Shakespeare presents Tybalt as somewhat honorable in the sense that he is aware of what his and others’ position in society is. ‘Tybalt’s avoidance of Mercutio’s initial challenge and his determination to duel honorably with Romeo are actions which arguably follow the codes of both chivalry and honor, showing Tybalt to demonstrate better judgment than we expect.’ Tybalt’s personality parallels with Elizabethan humor of choleric: violent, full of spite, and avenging.
Mercutio beckons reactions from Tybalt through insults and slurs. For example, remarks such as ‘rat-catcher’ and calling him the ‘Good King of Cats” refer to a sly fox in Reynard’s story that shares the same name as him. Mercutio can be seen as praising Tybalt’s agile abilities with a sword but ultimately this comes as an insult to Tybalt. Mercutio’s insulting remarks do not end there. ‘Will you pluck your sword out of his pitcher by the ears? Make haste, lest mine be about your ears ere it is out.’ To tempt Tybalt to fight with him, Mercutio plays with the word ‘ears’. This insult ignites fuel in Tybalt since refusing to fight was seen as cowardly and brought shame to an individual’s name and family. Even though the language used is quite jovial, ‘no more provocation than Mercutio’s threat is now required by Tybalt; he draws, and the fight is on.’
The significance of this scene cannot be undermined since it introduces Shakespeare’s mastery in combining a tragedy and a romantic comedy. The death of Mercutio serves as a catalyst which ultimately brings the death of the tranquillity in Romeo and Juliet’s love.
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