In Act I, Scene 4, when Romeo describes his love for Rosaline using the image of love as a rose with thorns, Mercutio mocks this conventional device by punning bawdily: If love be rough with you, be rough with love; Prick love for pricking and you beat love down. He's dirty, funny, out of control, and—we'll say it—compared to him, Romeo and Juliet can seem whiny and repetitive. 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? And say'st thou yet that exile is not death? It is the east, and Juliet is the sun. Just as Mercutio can see through words to other, usually debased meanings, he can also understand that the ideals held by those around him originate from less high-minded desires than anyone would care to admit. I warrant, an I should live a thousand years, I never should forget it: 'Wilt thou not, Jule? Or, if I live, is it not very like, The horrible conceit of death and night, Together with the terror of the place,. But it helps us get an idea of just how flashy Mercutio is.
In a sense, this is how the play goes, as well. Benvolio refocuses their attention on actually getting to the feast. Mercutio's name could be derived from Mercury and is similar to the word mercurial, which according to Merriam-Webster means characterized by rapid and unpredictable changeableness of mood. This moment is critical in the play because it serves as foreshadowing, or a warning about what is to come. Some word there was, worser than Tybalt's death, That murder'd me: I would forget it fain; But, O, it presses to my memory, Like damned guilty deeds to sinners' minds: 'Tybalt is dead, and Romeo. .
Stage Direction, under Romeo's arm, i. This is the truth, or let Benvolio die. Pompey's sons: a-bleeding, the prefix is the preposition on, i. To answer that, we need to think about what it is that prompts Mercutio's wild rant in the first place. That turns out to be a mistake on his part: Tybalt kills him in Act 3, Scene 1.
For I ne'er saw true beauty till this night. Once the spell is broken, the audience is able to see that dreams and illusions are indeed powerful tools, for they recognize that they themselves were drawn into the world created by Shakespeare. The fairy is no bigger than a gemstone and has a team of tiny creatures drawing her chariot. Monologue Text O, then I see Queen Mab hath been with you. I have a faint cold fear thrills through my veins, That almost freezes up the heat of life: I'll call them back again to comfort me: Nurse! Told from one of the bard's most beloved characters, Mercutio, this speech is not only fun to read but exciting to pick apart. In the mean time, against thou shalt awake, Shall Romeo by my letters know our drift, And hither shall he come: and he and I Will watch thy waking, and that very night Shall Romeo bear thee hence to Mantua. He later claims that dreams 'are the children of an idle brain, begot of nothing but vain fantasy' lines 103-104.
Mercutio jests with Romeo, musing that Mab, the bringer of dreams, has visited his lovesick friend. There is a very good reason for putting this speech toward the end of Act I. A fellow teacher is currently directing Shakespeare's and his main goal is to take the play to schools around Southern California to illustrate not a classic love story, but a tale of irrational and deadly decision making. Affection makes him false, his love for Romeo and his friend Mercutio makes him partial in his story. As an audience, we already know that Romeo and his friends are headed to the feast. Mercutio is the one most likely to pick a for no good reason! Romeo is banish'd; and all the world to nothing, That he dares ne'er come back to challenge you; Or, if he do, it needs must be by stealth. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play'd for a pair of stainless maidenhoods: Hood my unmann'd blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty.
It is important to establish a link between both these settings because Shakespeare capitalizes upon the existence of both to draw the audience into the action of the play. O, he's a lovely gentleman! Theseus and Egeus demand to know why the young people are so far away from the city at such an early hour. O, give me thy hand, One writ with me in sour misfortune's book! Romeo: Well, what was yours? First Citizen Up, sir, go with me; I charge thee in the princes name, obey. Two such opposed kings encamp them still In man as well as herbs, grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. O any thing, of nothing first create! O, be some other name! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off.
Her eye discourses; I will answer it. O that deceit should dwell In such a gorgeous palace! O gentle Romeo, If thou dost love, pronounce it faithfully: Or if thou think'st I am too quickly won, I'll frown and be perverse an say thee nay, So thou wilt woo; but else, not for the world. I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. Shakespeare loved puns, as is evident in Mercutio's dialogue throughout the play. In this monologue, Benvolio speaks to Prince Escalus, who has been called to the scene. In the end, he begs her to reconsider.
Romeo and Juliet is a comedy for two acts — very close to half the acting time on stage. Finally, 'this is the hag, when maids lie on their backs, that presses them and learns them first to bear, making them women of a good carriage' lines 96-98. In truth, fair Montague, I am too fond, And therefore thou mayst think my 'havior light: But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. Juliet - Shall I speak ill of him that is my husband? There are tons of amazing ones to choose from. I am for you, I am ready to meet you.
I'll bury thee in a triumphant grave; A grave? The sun not yet thy sighs from heaven clears, Thy old groans ring yet in my ancient ears; Lo, here upon thy cheek the stain doth sit Of an old tear that is not wash'd off yet: If e'er thou wast thyself and these woes thine, Thou and these woes were all for Rosaline: And art thou changed? Like the ephemeral world of Queen Mab — which exists only in our dreams — the reality of the play, into which both the performer and observer are drawn, is an illusion made real by the willing suspension of disbelief by those involved, like love, suggests, Mercutio. Once more, on pain of death, all men depart. At times, he is the comic relief for a very tragic play. I never shall forget it,. His sense of dread, after Mercutio's strange behavior, has deepened rather than diminished, and for the first time he actually defines what it is he feels: he senses that the events which are about to unfold will result in his death-the ultimate dreamless sleep.