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Shakespeare presents Tybalt and Mercutio as two extremely contrasting characters in his
play r
 
 As soon as he appears, Tybalt is portrayed as a villain , whereas
Mercutio is shown to be a comic jester. The names µTybalt¶ and µMercutio¶ are aptronyms
which reflect the unique personalities of the characters. µTybalt¶ is a name inspired from the
book r   , based on the character Tibert, Prince of the Cats. Shakespeare
uses this aptronym to emphasise the villainous nature of Tybalt. µMercutio¶, on the other
hand, is an aptronym coming from the word µmercurial¶. This demonstrates to the audience
that Mercutio is a volatile, frivolous and flamboyant character with fast -changing moods. The
prologue which opens the play tells the audience that it will see µa pair of star-crossed lovers
take their life¶. Both Tybalt and Mercutio have a crucial role in the play¶s tragic plot.
Shakespeare demonstrates that despite their contrasting natures, they both have similar
personal flaws, which lead to violent consequences for them selves and Romeo and Juliet.
Our responses to Tybalt and Mercutio are influenced by their actions and relations to other
characters and also by the language they use.

Shakespeare portrays Tybalt as an extremely aggressive character, obsessed about

protecting his family¶s honour and reputation. The audience is introduced to him in Act 1,
Scene 1 where he immediately threatens Benvolio saying µTurn thee Benvolio, look upon thy
death¶. Shakespeare uses contrast in this scene between the characters of Benvolio and
Tybalt. Benvolio is portrayed to the audience as a man who wants the feud between the
Capulets and the Montagues to end. Tybalt, on the other hand, says of peace, µI hate the
word¶. He tries to provoke Benvolio to fight, when he says µ As I hate hell, all Montagues and
thee¶. This creates great tension in the scene , because the audience is shown how deep-
seated and violent the feud between the Montagues and Capulets is . Moreover,
Shakespeare develops the audience¶s re sponse to Tybalt¶s evil nature by contrasting him
with the amicable character, Benvolio.

When Mercutio is introduced in Act 1, Scene 4 Shakespeare portrays him as someone who
is extrovert and willing to have fun. H e tells his close friend µRomeo, we must have you
dance¶, to which Romeo replies µyou have dancing shoes with nimble soles , I have a soul of
lead¶. In contrast to Mercutio, Romeo is reclusive and dep ressed about his rejection by a girl
he has fallen in love with, Rosaline . Shakespeare demonstrates Romeo¶s love -sickness to
the audience when Romeo says µUnder love¶s heavy burden do I sink¶ . Romeo exaggerates
his feelings over the rejection, using dramatic and romantic language. Mercutio, on the other
hand, takes a much more relaxed approach to love, one of the mo st important themes of the
play. He has a bawdy sense of humour and uses coarse language . For example, he advises
Romeo µIf love be rough with you , be rough with love. Prick love for pricking, and you beat
love down¶. Mercutio is often saying puns with sexual meanings , and these would have been
extremely popular with Elizabethan audiences.

Mercutio also makes an impact on the audience with his µQueen Mab¶ speech, which
conveys his views on the world, different to any other characters in the play . An Elizabethan
audience could relate to the speech, as Queen Mab was a popular character in 1 6th century
literature. At first, she is depicted as the µfairies midwife¶ in a miniature fantasy world, whe re
µher chariot is an empty hazel -nut¶. This suggests to the audience that dreams are
insignificant, small fantasies and that Romeo should learn not to take them s o seriously.
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Queen Mab is then portrayed as someone who can turns dreams into nightmares, as when
µladies¶ lips...oft the angry Mab with blisters plagues¶ . For soldiers she creates dreams of
µcutting foreign throats¶. She is µthe hag, when maids lie on their backs that presses them
and learns them first to bear¶. The images that Mercutio creates are disturbing and violent,
demonstrating the menacing nature of Queen Mab. Shakespeare uses the Queen Mab
speech to create juxtaposition between Romeo and Mercutio. Mercuti o¶s dark thoughts on
love contrast to the images of light and purity Romeo uses to describe his love, such as in
Act 1 scene 5, where he depicts Juliet as µdoth teach the torches to burn bright¶
Furthermore, the speech is written in iambic pentameter to convey the fast-changing moods
of Mercutio. As the speech progresses, it become s more and more driven, with less
breathing room between the phrases. This emphasises the volatile nature of Mercutio -
Queen Mab who is at first depicted as µthe fairies midwife¶ changes into a source of evil.

In Act 1, Scene 5, Shakespeare presents to us Tybalt¶s views on the importance of honour .

As soon as he recognises Romeo at the Capulet feast, Tybalt declares µNow by the stock
and honour of my kin, to strike him dead I h old it not a sin¶, which conveys his fury that
Romeo has entered the Capulet household. In contrast to Tybalt, Lord Capulet is portrayed
to the audience as someone who can be kind and open -minded to others. This is
demonstrated when he says to Tybalt µContent thee gentle coz, let him alone... I would
not...Here in my house do him disparagement¶ ¶. This shows a contrast on views on honour
between the younger and older generations. Lord Capulet represents the old generation
while his nephew, Tybalt, represents the young. It is ironic that Capulet wants there to be
peace between the Montagues and the Capulets in this scene, even though the two families
have an ancient feud. T ybalt, on the other hand, is afraid that by letting Romeo stay, the
Capulets will l ook weak in front of their guests. An Elizabethan audience could relate to
Tybalt in this scene, as family honour was regarded as extremely important during that era.
Tybalt¶s exit creates a great amount of su spense, because he threatens µthis intrusion sh all,
now seeming sweet, convert to bitterest gal¶. The audience is left wondering how he will
carry out revenge on Romeo. We can relate this back to the prologue as there we have been
told Romeo is µstar -crossed¶ and doomed to die.

In Act 2, Scene 4, Shakespeare creates dramatic irony and contrasting language when
Mercutio reveals his views on Romeo and Tybalt. At the beginning of the scene, Mercutio
says µwhy, that same pale hard -hearted wench, that Rosaline torments him so...poor Romeo,
he is already dead¶. Mercutio is convinced that Romeo is still in love with Rosaline and
depressed by her rejection of his love . However, the audience secretly know s that Romeo is
now married to Juliet. This influences the plot development, as M ercutio thinks that Romeo
might take up the challenge from Tybalt, not realising that Tybalt is now actually Romeo¶s
cousin. Also in this scene, Mercutio is portrayed as a sarcastic person when he describes
Tybalt as µa duellist, a duellist, a gentleman...the immortal passa do, the punto reverso , the
hay¶. Mercutio is mocking Tybalt¶s fencing tactics here, as Tybalt only has three moves.
Mercutio refers to Tybalt¶s killing thrust as µthe hay ! ¶. It is ironic that Mercutio is talking about
Tybalt¶s fencing skills, as later on in Act 3 Scene 1, Mercutio ends up taking the challenge
that Romeo was supposed to take. Mercutio¶s use of witty prose in this particular scene
would have appealed to groundlings. Furthermore, his prose contrasts with Romeo and
Juliet¶s romantic poetry, for example in Act 2 scene 2, the balcony scene.

Act 3 scene 1 is one of the mo st important scenes of the play which closely involves
Mercutio and Tybalt and greatly influences the tragic plot. The scene begins with Benvolio
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advising Mercutio µlet¶ s retire. The day is hot, the Capels are abroad , and if we meet, we
shall not µscape a brawl¶. Despite Benvolio¶s pleas, Mercutio is eager to fight. The character
of Benvolio is used to demonstrate the theme of protection in the play. He is reluctant to
fight, because he is trying to protect Romeo and the Montague family from the punishment of
death the Prince threatened them with in the first scene of the play. Benvolio describes
Mercutio on the other hand, as someone who is µapt to quarrel¶. Shakespeare uses
juxtaposition to demonstrate the huge contrast between the characters of Benvolio and
Mercutio. Mercutio¶s quarrelsome nature is shown to the audience when Tybalt arrives and
confronts him. In response, Mercutio says µmake it a word and a blow¶. When Tybalt rem arks
µMercutio, thou consortest with Romeo¶, Mercutio makes a sarcastic pun to mock Tybalt:
µConsort? What, dost thou make us minstrels...look to hear nothing but discords¶. He goes
on to provoke Tybalt to fight him saying µhere¶s my fiddlestick, here¶s th at shall make you
dance¶. These jibes create enormous suspense, as the audience is left wondering how
Tybalt will react. When Romeo enters soon after, Tybalt insults him and challenges him to a
fight: µthou art a villain...therefore turn and draw.¶

Although Mercutio and Tybalt have been portrayed to the audience as extremely contrasting
characters, we find in this scene that they share similar views on honour which they are
prepared to defend to the death. Tybalt regards Romeo¶s attendance at the Capulet¶s feast
as µinjuries¶. Mercutio is unaware of Romeo¶s r easons for not fighting Tybalt and is shocked
by Romeo¶s µcalm, dishonourable, vile submission! ¶. The dramatic irony of Mercutio¶s
ignorance of Romeo¶s marriage adds furthe r to the anticipation in the scene. Mercutio
aggressively challenges Tybalt to a fight: µTybalt, you rat -catcher, will you walk? ¶. Moreover,
he insults him, calling him µKing of Cats¶, and threatens to take one of his µni ne lives¶.
Mercutio¶s impetuous nature is demonstrated, a s he does not take any time considering
Romeo¶s situation. Instead , he fights Tybalt because he believes he is defending Romeo¶s
honour. He also refuses to listen to Romeo¶s desperate pleas for him to stop fighting Tybalt
such as µGentle Mercutio, put thy rapier up¶. Shakespeare¶s stage direction µTybalt under
Romeo¶s arm, thrusts Mercutio in and flies¶ provokes an emotional response from the
audience, as a popular character has been killed in a devious manner. Mercutio¶s death
signals an end to the comedy in the play. His final words µA plague a both your houses! They
have made worms¶ meat of me...Your houses!¶ emphasise to the audience that the feud
between the Montagues and the Capulets was responsible for his death. This curse also
relates back to the prediction of doom made in the prologue.

Mercutio¶s death creates e normous suspense for the audience, as we are now wondering
how Romeo will react to Tybalt¶s actions. The theme o f friendship is important in this scene,
as Romeo is keen to take revenge on Tybalt for Mercutio¶s death. µThis day¶s black fate on
moe days doth depend, this but begins the woe others must end¶, suggests to the audience
that terrible events caused by fate will continue in the future . Romeo proclaims his anger for
Mercutio¶s death when he declares µHe go in triumph , and Mercutio slain?...Staying for thine
to keep him company. E ither thou or I, or both, must go with him¶ . This shows that Romeo is
impetuous and wants to take revenge . He is determined to defend his honour, and not
convey himself as a coward in front of Tybalt. Romeo may also feel a hu ge amount of guilt
for Mercutio¶s death, and hence, is putting his life in danger, just like Mercutio did for him.
The image of µTybalt falls¶ pleases the audience because Shakespeare has created poetic
justice. The audience is happy that the villain has d ied. However, Tybalt¶s death creates
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great tension as the audience is waiting to see how the Prince and the Capulet s will
respond.

Shakespeare demonstrates that the younger male generation in the play, including Tybalt,
Romeo and Mercutio, are hot headed men who can be aggressive when defending their
honour. Sometimes, there is a contrast between the younger and the older generations in
the play. In Act 2, Scene 3, Friar Lawrence says to Romeo µthis alliance may so happy
prove, to turn your hou seholds¶ rancour to pure love¶ . Shakespeare suggests to the audience
that some of the older generation, particularly those who are religious, are more willing to
work for peace. This is a contrast to the younger generati on, who believe that honour is
more important and shun advice .

In conclusion, Shakespeare presents Tybalt as a symbol of evil in the play , whose menacing
language is used to create tension and suspense in the audience. Mercutio, on the other
hand, is portrayed as an extrovert and talkative character. Shakespeare uses the character
of Mercutio to introduce comedy in the play and to show to us a different view on the world,
especially on love. Shakespeare emphasises to the audience that the young , male
generation in the play including Romeo, are all too impetuous and violent, with the exception
of Benvolio. A view that honour is important is shared between Mercutio and Tybalt, which
ends up in a fight between the two charact ers. An Elizabethan audience could relate to
Mercutio¶s and Tybalt¶s feelings on honour, as defending the honour of families was
regarded as very important in that era. A modern audience can also relate to the theme of
honour, as respect is often part of gang culture in society today where violent revenge is
taken on those who are disrespectful to gang members . The audience realise that the
ancient feud between the Capulets and Montagues i s ultimately responsible for the deaths of
Mercutio and Tybalt. The fight between these two characters leads to the tragedy o f Romeo
and Juliet and provokes a response from the audience that we must try to live in peace and
harmony in society.