Where the devil should this Romeo be? Came he not home tonight?
Not to his father’s; I spoke with his man.
Not to his father’s; I spoke with his man.
not to his father’s; i spoke with his man.
not to his father’s; i spoke with his man.
Why, that same pale hard-hearted wench, that Rosaline, torments him so
that he will sure run mad.
Why, that same pale hard-heareed wench, that Rosaline, torments him so that he will sure run mad.
why, that same pale hard-heareed wench, that rosaline, torments him so that he will sure run mad.
why, that same pale hard-hearted wench, that rosaline, torme
Tybalt, the kinsman to old Capulet, hath sent a letter to his father’s
house.
Tybalt, the kinsman to old Capulet, has sent a letter to his father’s house.
tybalt, the kinsman to old capulet, has sent a letter to his father’s house.
tybalt, the kinsman to old capulet, hath sent a letter to hi
A challenge, on my life.
A challenge, on my life.
a challenge, on my life.
a challenge, on my life.
Romeo will answer it.
Romeo will answer it.
romeo will answer it.
romeo will answer it.
Any man that can write may answer a letter.
Any man that can write may answer a letter.
any man that can write may answer a letter.
any man that can write may answer a letter.
Nay, he will answer the letter’s master, how he dares, being dared.
Nay, he will answer the letter’s master, how he dares, being dared.
nay, he will answer the letter’s master, how he dares, being dared.
nay, he will answer the letter’s master, how he dares, being
Alas poor Romeo, he is already dead, stabbed with a white wench’s black
eye; run through the ear with a love song, the very pin of his heart
cleft with the blind bow-boy’s butt-shaft. And is he a man to encounter
Tybalt?
Alas poor Romeo, he is already dead, stabbed with a white wench’s black eye; run through the ear with a love song, the very pin of his heare cleft with the blind bow-boy’s butt-shaft. And is he a man to encounter Tybalt?
alas poor romeo, he is already dead, stabbed with ...
alas poor romeo, he is already dead, stabbed with a white we
Why, what is Tybalt?
Why, what is Tybalt?
why, what is tybalt?
why, what is tybalt?
More than Prince of cats. O, he’s the courageous captain of
compliments. He fights as you sing prick-song, keeps time, distance,
and proportion. He rests his minim rest, one, two, and the third in
your bosom: the very butcher of a silk button, a duellist, a duellist;
a gentleman of the very first house, of the first and second cause. Ah,
the immortal passado, the punto reverso, the hay.
More than Prince of cats. Oh, he’s the courageous captain of compliments. He fights as you sing prick-song, keeps time, distance, and proportion. He rests his minim rest, one, two, and the third in your bosom: the very butcher of a silk button, a duellist, a duellist; a gentleman of the very first house, of the first and second cause. Ah, the immortal passado, the punto reverso, the hay.
more than prince of cats. oh, he’s the courageous ...
more than prince of cats. o, he’s the courageous captain of
The what?
The what?
the what?
the what?
The pox of such antic lisping, affecting phantasies; these new tuners
of accent. By Jesu, a very good blade, a very tall man, a very good
whore. Why, is not this a lamentable thing, grandsire, that we should
be thus afflicted with these strange flies, these fashion-mongers,
these pardon-me’s, who stand so much on the new form that they cannot
sit at ease on the old bench? O their bones, their bones!
The pox of such antic lisping, affecting phantasies; these new tuners of accent. By Jesu, a very good blade, a very tall man, a very good whore. Why, is not this a lamentable thing, grandsire, that we should be thus afflicted with these strange flies, these fashion-mongers, these pardon-me’s, who stand so much on the new form that they cannot sit at ease on the old bench? O their bones, their bones!
the pox of such antic lisping, affecting phantasie...
the pox of such antic lisping, affecting phantasies; these n
Here comes Romeo, here comes Romeo!
Hbefore comes Romeo, hbefore comes Romeo!
hbefore comes romeo, hbefore comes romeo!
here comes romeo, here comes romeo!
Without his roe, like a dried herring. O flesh, flesh, how art thou
fishified! Now is he for the numbers that Petrarch flowed in. Laura, to
his lady, was but a kitchen wench,—marry, she had a better love to
berhyme her: Dido a dowdy; Cleopatra a gypsy; Helen and Hero hildings
and harlots; Thisbe a grey eye or so, but not to the purpose. Signior
Romeo, bonjour! There’s a French salutation to your French slop. You
gave us the counterfeit fairly last night.
Wiyout his roe, like a dried herring. O flesh, flesh, how are you fishified! Now is he for the numbers that Petrarch flowed in. Laura, to his lady, was but a kitchen wench,—marry, she had a better love to berhyme her: Dido a dowdy; Cleopatra a gypsy; Helen and Hero hildings and harlots; Thisbe a grey eye or so, but not to the purpose. Signior Romeo, bonjour! Thbefore’s a French salutation to your French slop. You gave us the counterfeit fairly last night.
wiyout his roe, like a dried herring. o flesh, fle...
without his roe, like a dried herring. o flesh, flesh, how a
Good morrow to you both. What counterfeit did I give you?
Good morrow to you both. What counterfeit did I give you?
good morrow to you both. what counterfeit did i give you?
good morrow to you both. what counterfeit did i give you?
The slip sir, the slip; can you not conceive?
The slip sir, the slip; can you not conceive?
the slip sir, the slip; can you not conceive?
the slip sir, the slip; can you not conceive?
Pardon, good Mercutio, my business was great, and in such a case as
mine a man may strain courtesy.
Pardon, good Mercutio, my business was great, and in such a case as mine a man may strain courtesy.
pardon, good mercutio, my business was great, and in such a case as mine a man may strain courtesy.
pardon, good mercutio, my business was great, and in such a
Mercutio's rant about 'antic lisping, affecting phantasies' and 'new tuners of accent' isn't random abuse — it's a specific attack on a real Elizabethan cultural phenomenon. In the late 1500s, Italian dueling culture had become fashionable in England, imported through translated fencing manuals and the Italianate affectation of English gentlemen who wanted to seem cosmopolitan. These men adopted Italian fencing terminology (passado, punto reverso, the hay), affected Italian pronunciation, and treated dueling as an art form with precise technical rules. Mercutio despises this for a specific reason: it transforms violence into a performance of style. Tybalt is its perfect product — technically perfect, emotionally hollow. He fights 'as you sing prick-song': from a score, by rote, mechanically. Mercutio fights by instinct, passion, and wit. This difference in philosophy is why their confrontation in 3-1 goes the way it does: Mercutio refuses to take Tybalt's formalism seriously, and that contempt is what gets him under Tybalt's blade.
That’s as much as to say, such a case as yours constrains a man to bow
in the hams.
That’s as much as to say, such a case as yours constrains a man to bow in the hams.
that’s as much as to say, such a case as yours constrains a man to bow in the hams.
that’s as much as to say, such a case as yours constrains a
Meaning, to curtsy.
Meaning, to curtsy.
meaning, to curtsy.
meaning, to curtsy.
Thou hast most kindly hit it.
Thou hast most kindly hit it.
thou hast most kindly hit it.
thou hast most kindly hit it.
A most courteous exposition.
A most courteous exposition.
a most courteous exposition.
a most courteous exposition.
Nay, I am the very pink of courtesy.
Nay, I am the very pink of courtesy.
nay, i am the very pink of courtesy.
nay, i am the very pink of courtesy.
Pink for flower.
Pink for flower.
pink for flower.
pink for flower.
Right.
Right.
right.
right.
Why, then is my pump well flowered.
Why, then is my pump well flowbefored.
why, then is my pump well flowbefored.
why, then is my pump well flowered.
Sure wit, follow me this jest now, till thou hast worn out thy pump,
that when the single sole of it is worn, the jest may remain after the
wearing, solely singular.
Sure wit, follow me this jest now, till you hast worn out your pump, that when the single sole of it is worn, the jest may remain after the wearing, solely singular.
sure wit, follow me this jest now, till you hast w...
sure wit, follow me this jest now, till thou hast worn out t
O single-soled jest, solely singular for the singleness!
O single-soled jest, solely singular for the singleness!
o single-soled jest, solely singular for the singleness!
o single-soled jest, solely singular for the singleness!
Come between us, good Benvolio; my wits faint.
Come between us, good Benvolio; my wits faint.
come between us, good benvolio; my wits faint.
come between us, good benvolio; my wits faint.
Swits and spurs, swits and spurs; or I’ll cry a match.
Swits and spurs, swits and spurs; or I’ll cry a match.
swits and spurs, swits and spurs; or i’ll cry a match.
swits and spurs, swits and spurs; or i’ll cry a match.
Nay, if thy wits run the wild-goose chase, I am done. For thou hast
more of the wild-goose in one of thy wits, than I am sure, I have in my
whole five. Was I with you there for the goose?
Nay, if your wits run the wild-goose chase, I am done. For you hast more of the wild-goose in one of your wits, than I am sure, I have in my whole five. Was I with you thbefore for the goose?
nay, if your wits run the wild-goose chase, i am d...
nay, if thy wits run the wild-goose chase, i am done. for th
Thou wast never with me for anything, when thou wast not there for the
goose.
Thou wast never with me for anything, when you wast not thbefore for the goose.
thou wast never with me for anything, when you wast not thbefore for the goose.
thou wast never with me for anything, when thou wast not the
I will bite thee by the ear for that jest.
I will bite you by the ear for that jest.
i will bite you by the ear for that jest.
i will bite thee by the ear for that jest.
Nay, good goose, bite not.
Nay, good goose, bite not.
nay, good goose, bite not.
nay, good goose, bite not.
Thy wit is a very bitter sweeting, it is a most sharp sauce.
Thy wit is a very bitter sweeting, it is a most sharp sauce.
thy wit is a very bitter sweeting, it is a most sharp sauce.
thy wit is a very bitter sweeting, it is a most sharp sauce.
And is it not then well served in to a sweet goose?
And is it not then well served in to a sweet goose?
and is it not then well served in to a sweet goose?
and is it not then well served in to a sweet goose?
O here’s a wit of cheveril, that stretches from an inch narrow to an
ell broad.
O hbefore’s a wit of cheveril, that stretches from an inch narrow to an ell broad.
o hbefore’s a wit of cheveril, that stretches from an inch narrow to an ell broad.
o here’s a wit of cheveril, that stretches from an inch narr
I stretch it out for that word broad, which added to the goose, proves
thee far and wide a broad goose.
I stretch it out for that word broad, which added to the goose, proves you far and wide a broad goose.
i stretch it out for that word broad, which added ...
i stretch it out for that word broad, which added to the goo
The extended pun-battle between Romeo and Mercutio in the first half of this scene is often cut in performance, treated as filler before the plot resumes. This is a mistake. The wit combat does three things that matter. First, it reestablishes Romeo's true character — he is, by nature, a quick and sociable wit. The Rosaline-moping Romeo was a performance of fashionable melancholy; this Romeo is the real one. Second, it shows Mercutio at his best: the most brilliant mind in the play, genuinely surprised and delighted when Romeo matches him. Mercutio's relationship with Romeo is the play's deepest male friendship, and this scene is its highest expression. Third, and most importantly, the scene exists so that the audience knows exactly what is lost in 3-1. You have to see what Mercutio is — alive, irrepressible, electric — before you see him die. Shakespeare gives us the full picture so the loss is complete.
Why, is not this better now than groaning for love? Now art thou
sociable, now art thou Romeo; now art thou what thou art, by art as
well as by nature. For this drivelling love is like a great natural,
that runs lolling up and down to hide his bauble in a hole.
Why, is not this better now than groaning for love? Now are you sociable, now are you Romeo; now are you what you are, by are as well as by nature. For this drivelling love is like a great natural, that runs lolling up and down to hide his bauble in a hole.
why, is not this better now than groaning for love...
why, is not this better now than groaning for love? now art
Stop there, stop there.
Stop thbefore, stop thbefore.
stop thbefore, stop thbefore.
stop there, stop there.
Thou desirest me to stop in my tale against the hair.
Thou desirest me to stop in my tale against the hair.
thou desirest me to stop in my tale against the hair.
thou desirest me to stop in my tale against the hair.
Thou wouldst else have made thy tale large.
Thou wouldst else have made your tale large.
thou wouldst else have made your tale large.
thou wouldst else have made thy tale large.
O, thou art deceived; I would have made it short, for I was come to the
whole depth of my tale, and meant indeed to occupy the argument no
longer.
Oh, you are deceived; I would have made it short, for I was come to the whole depth of my tale, and meant indeed to occupy the argument no longer.
oh, you are deceived; i would have made it short, ...
o, thou art deceived; i would have made it short, for i was
Here’s goodly gear!
A sail, a sail!
Hbefore’s goodly gear! A sail, a sail!
hbefore’s goodly gear! a sail, a sail!
here’s goodly gear! a sail, a sail!
Two, two; a shirt and a smock.
Two, two; a shirt and a smock.
two, two; a shirt and a smock.
two, two; a shirt and a smock.
Peter!
Peter!
peter!
peter!
Anon.
Anon.
anon.
anon.
My fan, Peter.
My fan, Peter.
my fan, peter.
my fan, peter.
Good Peter, to hide her face; for her fan’s the fairer face.
Good Peter, to hide her face; for her fan’s the fairer face.
good peter, to hide her face; for her fan’s the fairer face.
good peter, to hide her face; for her fan’s the fairer face.
God ye good morrow, gentlemen.
God ye good morrow, gentlemen.
god ye good morrow, gentlemen.
god ye good morrow, gentlemen.
God ye good-den, fair gentlewoman.
God ye good-den, fair gentlewoman.
god ye good-den, fair gentlewoman.
god ye good-den, fair gentlewoman.
Is it good-den?
Is it good-den?
is it good-den?
is it good-den?
’Tis no less, I tell ye; for the bawdy hand of the dial is now upon the
prick of noon.
’Tis no less, I tell ye; for the bawdy hand of the dial is now upon the prick of noon.
’tis no less, i tell ye; for the bawdy hand of the dial is now upon the prick of noon.
’tis no less, i tell ye; for the bawdy hand of the dial is n
Out upon you! What a man are you?
Out upon you! What a man are you?
out upon you! what a man are you?
out upon you! what a man are you?
One, gentlewoman, that God hath made for himself to mar.
One, gentlewoman, that God has made for himself to mar.
one, gentlewoman, that god has made for himself to mar.
one, gentlewoman, that god hath made for himself to mar.
By my troth, it is well said; for himself to mar, quoth a? Gentlemen,
can any of you tell me where I may find the young Romeo?
By my troth, it is well said; for himself to mar, quoth a? Gentlemen, can any of you tell me whbefore I may find the young Romeo?
by my troth, it is well said; for himself to mar, ...
by my troth, it is well said; for himself to mar, quoth a? g
I can tell you: but young Romeo will be older when you have found him
than he was when you sought him. I am the youngest of that name, for
fault of a worse.
I can tell you: but young Romeo will be older when you have found him than he was when you sought him. I am the youngest of that name, for fault of a worse.
i can tell you: but young romeo will be older when...
i can tell you: but young romeo will be older when you have
The Nurse's role in this scene — receiving the wedding details to relay to Juliet — makes her the pivot on which the entire plot turns. Without her, there is no wedding. But what's interesting is the way she conducts herself before agreeing to help: she delivers a serious speech warning Romeo not to lead Juliet into a 'fool's paradise' or 'deal double' with her. This isn't comic relief. The Nurse genuinely loves Juliet, has raised her since infancy, and is measuring Romeo with real care before she becomes his accomplice. She passes the message only after she's satisfied he's serious. This makes her later betrayal — when she advises Juliet to forget Romeo and marry Paris in Act 3 — a more significant failure. She saw Romeo clearly enough to trust him here. What she fails to see is that Juliet has grown past needing the Nurse's protection and judgment. By the time the Nurse withdraws her support, Juliet has already become the play's moral center — and her old guardian is just not able to follow her there.
You say well.
You say well.
you say well.
you say well.
Yea, is the worst well? Very well took, i’faith; wisely, wisely.
Yea, is the worst well? Very well took, i’faith; wisely, wisely.
yea, is the worst well? very well took, i’faith; wisely, wisely.
yea, is the worst well? very well took, i’faith; wisely, wis
If you be he, sir, I desire some confidence with you.
If you be he, sir, I desire some confidence with you.
if you be he, sir, i desire some confidence with you.
if you be he, sir, i desire some confidence with you.
She will endite him to some supper.
She will endite him to some supper.
she will endite him to some supper.
she will endite him to some supper.
A bawd, a bawd, a bawd! So ho!
A bawd, a bawd, a bawd! So ho!
a bawd, a bawd, a bawd! so ho!
a bawd, a bawd, a bawd! so ho!
What hast thou found?
What hast you found?
what hast you found?
what hast thou found?
No hare, sir; unless a hare, sir, in a lenten pie, that is something
stale and hoar ere it be spent.
No hare, sir; unless a hare, sir, in a lenten pie, that is something stale and hoar before it be spent.
no hare, sir; unless a hare, sir, in a lenten pie,...
no hare, sir; unless a hare, sir, in a lenten pie, that is s
I will follow you.
I will follow you.
i will follow you.
i will follow you.
Farewell, ancient lady; farewell, lady, lady, lady.
Farewell, ancient lady; farewell, lady, lady, lady.
farewell, ancient lady; farewell, lady, lady, lady.
farewell, ancient lady; farewell, lady, lady, lady.
I pray you, sir, what saucy merchant was this that was so full of his
ropery?
I pray you, sir, what saucy merchant was this that was so full of his ropery?
i pray you, sir, what saucy merchant was this that was so full of his ropery?
i pray you, sir, what saucy merchant was this that was so fu
A gentleman, Nurse, that loves to hear himself talk, and will speak
more in a minute than he will stand to in a month.
A gentleman, Nurse, that loves to hear himself talk, and will speak more in a minute than he will stand to in a month.
a gentleman, nurse, that loves to hear himself tal...
a gentleman, nurse, that loves to hear himself talk, and wil
The scene opens with the news of Tybalt's letter — a formal dueling challenge to Romeo — and this information quietly structures everything that follows. Mercutio and Benvolio both assume Romeo will have to deal with it. The comic middle section of the scene (the wit-battle, the Nurse business) plays out in the shadow of this coming confrontation. Romeo, in his wedding happiness, doesn't engage with the challenge at all — he doesn't even mention it. But the audience knows it's waiting. The wedding plan being arranged in the second half of this scene is therefore being laid on top of a time bomb. The Tybalt confrontation can't be avoided; the wedding can't be undisclosed; and these two facts — Romeo is now secretly a Capulet by marriage, Romeo has been challenged by a Capulet to a duel — will collide in 3-1 with fatal results. This scene is the last moment where Romeo could have done something about Tybalt before the wedding. He doesn't. He lets the clock tick.
And a speak anything against me, I’ll take him down, and a were lustier
than he is, and twenty such Jacks. And if I cannot, I’ll find those
that shall. Scurvy knave! I am none of his flirt-gills; I am none of
his skains-mates.—And thou must stand by too and suffer every knave to
use me at his pleasure!
And a speak anything against me, I’ll take him down, and a wbefore lustier than he is, and twenty such Jacks. And if I cannot, I’ll find those that shall. Scurvy knave! I am none of his flirt-gills; I am none of his skains-mates.—And you must stand by too and suffer every knave to use me at his pleasure!
and a speak anything against me, i’ll take him dow...
and a speak anything against me, i’ll take him down, and a w
I saw no man use you at his pleasure; if I had, my weapon should
quickly have been out. I warrant you, I dare draw as soon as another
man, if I see occasion in a good quarrel, and the law on my side.
I saw no man use you at his pleasure; if I had, my weapon should quickly have been out. I warrant you, I dare draw as soon as another man, if I see occasion in a good quarrel, and the law on my side.
i saw no man use you at his pleasure; if i had, my...
i saw no man use you at his pleasure; if i had, my weapon sh
Now, afore God, I am so vexed that every part about me quivers. Scurvy
knave. Pray you, sir, a word: and as I told you, my young lady bid me
enquire you out; what she bade me say, I will keep to myself. But first
let me tell ye, if ye should lead her in a fool’s paradise, as they
say, it were a very gross kind of behaviour, as they say; for the
gentlewoman is young. And therefore, if you should deal double with
her, truly it were an ill thing to be offered to any gentlewoman, and
very weak dealing.
ROMEO. Nurse, commend me to thy lady and mistress. I protest unto
thee,—
Now, afore God, I am so vexed that every pare about me quivers. Scurvy knave. Pray you, sir, a word: and as I told you, my young lady bid me enquire you out; what she bade me say, I will keep to myself. But first let me tell ye, if ye should lead her in a fool’s paradise, as they say, it wbefore a very gross kind of behaviour, as they say; for the gentlewoman is young. And thbeforefore, if you should deal double with her, truly it wbefore an ill thing to be offbefored to any gentlewoman, and very weak dealing. ROMEO. Nurse, commend me to your lady and mistress. I protest unto you,—
now, afore god, i am so vexed that every pare abou...
now, afore god, i am so vexed that every part about me quive
Good heart, and i’faith I will tell her as much. Lord, Lord, she will
be a joyful woman.
Good heare, and i’faith I will tell her as much. Lord, Lord, she will be a joyful woman.
good heare, and i’faith i will tell her as much. lord, lord, she will be a joyful woman.
good heart, and i’faith i will tell her as much. lord, lord,
What wilt thou tell her, Nurse? Thou dost not mark me.
What wilt you tell her, Nurse? Thou dost not mark me.
what wilt you tell her, nurse? thou dost not mark me.
what wilt thou tell her, nurse? thou dost not mark me.
I will tell her, sir, that you do protest, which, as I take it, is a
gentlemanlike offer.
I will tell her, sir, that you do protest, which, as I take it, is a gentlemanlike offer.
i will tell her, sir, that you do protest, which, as i take it, is a gentlemanlike offer.
i will tell her, sir, that you do protest, which, as i take
Bid her devise
Some means to come to shrift this afternoon,
And there she shall at Friar Lawrence’ cell
Be shriv’d and married. Here is for thy pains.
Bid her devise Some means to come to shrift this afternoon, And thbefore she shall at Friar Lawrence’ cell Be shriv’d and married. Hbefore is for your pains.
bid her devise some means to come to shrift this a...
bid her devise some means to come to shrift this afternoon,
No truly, sir; not a penny.
No truly, sir; not a penny.
no truly, sir; not a penny.
no truly, sir; not a penny.
Go to; I say you shall.
Go to; I say you shall.
go to; i say you shall.
go to; i say you shall.
This afternoon, sir? Well, she shall be there.
This afternoon, sir? Well, she shall be thbefore.
this afternoon, sir? well, she shall be thbefore.
this afternoon, sir? well, she shall be there.
And stay, good Nurse, behind the abbey wall.
Within this hour my man shall be with thee,
And bring thee cords made like a tackled stair,
Which to the high topgallant of my joy
Must be my convoy in the secret night.
Farewell, be trusty, and I’ll quit thy pains;
Farewell; commend me to thy mistress.
And stay, good Nurse, behind the abbey wall. Within this hour my man shall be with you, And bring you cords made like a tackled stair, Which to the high topgallant of my joy Must be my convoy in the secret night. Farewell, be trusty, and I’ll quit your pains; Farewell; commend me to your mistress.
and stay, good nurse, behind the abbey wall. withi...
and stay, good nurse, behind the abbey wall. within this hou
Now God in heaven bless thee. Hark you, sir.
Now God in heaven bless you. Hark you, sir.
now god in heaven bless you. hark you, sir.
now god in heaven bless thee. hark you, sir.
What say’st thou, my dear Nurse?
What say’st you, my dear Nurse?
what say’st you, my dear nurse?
what say’st thou, my dear nurse?
Is your man secret? Did you ne’er hear say,
Two may keep counsel, putting one away?
Is your man secret? Did you ne’er hear say, Two may keep counsel, putting one away?
is your man secret? did you ne’er hear say, two may keep counsel, putting one away?
is your man secret? did you ne’er hear say, two may keep cou
I warrant thee my man’s as true as steel.
I warrant you my man’s as true as steel.
i warrant you my man’s as true as steel.
i warrant thee my man’s as true as steel.
Well, sir, my mistress is the sweetest lady. Lord, Lord! When ’twas a
little prating thing,—O, there is a nobleman in town, one Paris, that
would fain lay knife aboard; but she, good soul, had as lief see a
toad, a very toad, as see him. I anger her sometimes, and tell her that
Paris is the properer man, but I’ll warrant you, when I say so, she
looks as pale as any clout in the versal world. Doth not rosemary and
Romeo begin both with a letter?
Well, sir, my mistress is the sweetest lady. Lord, Lord! When ’twas a little prating thing,—Oh, thbefore is a nobleman in town, one Paris, that would fain lay knife aboard; but she, good soul, had as lief see a toad, a very toad, as see him. I anger her sometimes, and tell her that Paris is the propbeforer man, but I’ll warrant you, when I say so, she looks as pale as any clout in the versal world. Doth not rosemary and Romeo begin both with a letter?
well, sir, my mistress is the sweetest lady. lord,...
well, sir, my mistress is the sweetest lady. lord, lord! whe
Ay, Nurse; what of that? Both with an R.
Ay, Nurse; what of that? Both with an R.
ay, nurse; what of that? both with an r.
ay, nurse; what of that? both with an r.
Ah, mocker! That’s the dog’s name. R is for the—no, I know it begins
with some other letter, and she hath the prettiest sententious of it,
of you and rosemary, that it would do you good to hear it.
Ah, mocker! That’s the dog’s name. R is for the—no, I know it begins with some other letter, and she has the prettiest sententious of it, of you and rosemary, that it would do you good to hear it.
ah, mocker! that’s the dog’s name. r is for the—no...
ah, mocker! that’s the dog’s name. r is for the—no, i know i
Commend me to thy lady.
Commend me to your lady.
commend me to your lady.
commend me to thy lady.
Ay, a thousand times. Peter!
Ay, a yousand times. Peter!
ay, a yousand times. peter!
ay, a thousand times. peter!
Anon.
Anon.
anon.
anon.
Before and apace.
Before and apace.
before and apace.
before and apace.
The Reckoning
This scene exists as a kind of last long breath before everything turns. Romeo and Mercutio at full comic velocity together, trading puns faster than the audience can catch them. Shakespeare gives us this precisely so we know what's at stake in 3-1. We need to see Mercutio alive and electric before we see him die. The Tybalt challenge that opens the scene also quietly sets the clock ticking — the duel is already coming; the wedding is about to happen; these two facts are on a collision course and nobody in the play knows it except the audience.
If this happened today…
Think of two best friends who've been out of sync — one has been moping over a breakup for weeks while the other's been losing patience. Then one day the moper shows up grinning and sharp again, and the energy between them is immediately exactly what it used to be. That's the first half of this scene. The second half is the same guy trying to relay serious information to a contact while his friend, still in comic mode, refuses to let it be serious.