Isaac Asimov - Asimov’s Guide To Shakespear. Volume 1

—Act II, scene iii, lines 15-18

Here is expressed the medieval view that all creation is made for the express good of man; that everything on earth has some property that makes it valuable to man.

Romeo comes to the friar with his tale of love and Friar Laurence is more than a little confused at this sudden change from Rosaline to Juliet and clucks disapprovingly over the whole matter. He decides, however, to go along with the secret marriage for a clearly expressed reason; saying:

—Act II, scene iii, lines 90-92

Friar Laurence obviously considers the feud to be dying and a marital alliance, he judges, will end it altogether. He seems, however, to prefer the indirect and hidden approach to the direct one; he is as romantic as Juliet.

It is broad day now and Benvolio and Mercutio have still not found Romeo. Meanwhile Tybalt, angered over the incident at the feast, has sent a formal challenge to Romeo. The two friends aren't worried, sure that Romeo can take care of himself. Mercutio thinks very little of Tybalt as a swordsman, characterizing him as

—Act II, scene iv, lines 19-22

The "Prince of Cats" is a jeer at Tybalt's name, of course. The mockery is aimed at that favorite butt of Shakespeare's-the French or Italian way of doing things (in this case, scientific fencing) as opposed to the wholesome English fashion of simply dealing out good thwacks.

And now at last Romeo appears, and Mercutio fully expects him to begin again with his whining lovesickness. He mimics him in advance:

—Act II, scene iv, lines 40-42

Petrarch (Francesco Petrarca in Italian) was an Italian poet whose work may be thought of as sparking the Renaissance. He was born in 1304 and in 1327 met a lady known to us as "Laura." Who she was in actuality is not certain.

Though he did much work in Latin, he is best known for his collection of Italian sonnets, odes, and other poems written between 1330 and 1360. These poems deal with his love for Laura, and through that love, deal with many other matters. Because of this, Petrarch and Laura are one of the great pairs of lovers of history, though the love may have been an ideal one only.

But how things have changed! Romeo is no longer a mewling wretch, but is lively and sparkling, quite ready to engage Mercutio in a game of wits and to give as good as he gets, so that the latter is delighted that Romeo is himself again.

The Nurse then comes on the scene. Mercutio is, with some difficulty, shoved offstage and Romeo tells her that all has been arranged for Friar Laurence to marry them that very afternoon. The Nurse goes off with the news and plans also to get Juliet a rope ladder that she can lower to Romeo that night, so that he might climb to her room and enjoy the fruits of love.

We might imagine that on the next day, once Juliet has had her romantic marriage and all it involves, Romeo will confront his father with the fact, and old Montague will in turn confront the Capulets. All, we hope, will be well-if only Romeo can stay out of trouble till then.

But it is still Monday afternoon, midsummer, and very hot. Tempers may be short and Benvolio (still promenading with Mercutio) feels it will be well to go in. With characteristic caution he wishes to avoid meeting an irritated Tybalt, brooding over the crashing of the party the night before.

Mercutio refuses to take this seriously.

At this point, however, in comes Tybalt, inquiring after Romeo. Mercutio baits hull while Benvolio anxiously tries to keep the whole matter under control.

But now Romeo enters, already married to Juliet, although no one knows it but bride, groom, and friar. Tybalt challenges him with an insult and Romeo, aware of their present relationship, of which Tybalt is not, patiently endures the insult and refuses to fight.

So far all is well. Romeo has done the sensible thing, even if it was not a particularly heroic one.

And now the secrecy, Juliet's romantic secrecy, does its fell work. If Mercutio had known of Romeo's marriage he would have understood and stood aside. He did not know and finds he cannot endure Romeo's tame acceptance of insult. If Romeo will accept the grace, Mercutio will wipe it out on his behalf. He cries out to Tybalt:

—Act III, scene i, line 76

"Ratcatcher" is one more reference to Tybalt the cat, and Mercutio is inviting the other to walk to some quiet place where they may fight without interruption.

Tybalt hesitates. His quarrel is not with Mercutio. He asks Mercutio what he wants and the latter says, lightly:

—Act III, scene i, lines 78-79

It is an old fable that a cat has nine lives, and there is something to it. A cat is careful, sly, equipped with needlelike claws for a fight and soft pads for stealth. It can climb a tree and land on its feet when it falls. It will escape sure death for other animals eight times out of nine.

All might still be well. Mercutio, we may well expect, is the better swordsman and will kill Tybalt. Mercutio is not a member of either faction and so is not included in the ban against street fighting. With Tybalt dead, the chief upholder of the feud will be gone. It will be all the easier to reconcile the factions.

All Romeo need do now is stand aside.

But Romeo cannot. Mercutio is his loved friend, Tybalt his new relative. He wants neither hurt so he tries to get between and stop them. At which point, in one Sash, all goes wrong. Tybalt's sword passes under Romeo's arm and Mercutio is blocked from parrying. Badly wounded, Mercutio recognizes the fact that the quarrel was not really his, after all, and says so in a phrase that has entered the language:

—Act III, scene i, lines 91-92

Mercutio makes his last bitter jests and hobbles off to die.

Yet still things are not utterly lost Romeo has lost a dear Mend but it was by no willing action of his own. He had tried for the best, endeavored to make peace. It was Tybalt who was the murderer and it is he who may be executed for it and again the feud will be made up the easier, perhaps, for Tybalt's end.

Yet Romeo cannot leave it at that, not even for Juliet. Mercutio died in his quarrel and he has no choice. Wildly, he challenges Tybalt and kills him-and by then all the noise has roused the citizens.

Romeo is half amazed at all that has happened in a matter of a few minutes, for now he must get out of the city at once or, by the Prince's decree, he will be executed.

It is still less than twenty-four hours since he met Juliet and already he has not only gained her, but lost her as well. No wonder he cries out in agony: