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Updated: June 12, 2025
What convinces me that he virtually died with Mercutio is chiefly this that this comrade of Romeo's lives so keenly as to be fully capable of the death that he takes at Tybalt's sword-point; he lived indeed, he dies indeed. Another thing that marks the close of a career of ages is his loss of his long customary good luck.
Now, as it was impossible that Romeo's love, supposing him a reasonable being, could continue to subsist without hope, the poet has, with great art, seized the moment when he was reduced actually to despair to throw in his way an object more accomplished than her by whom he had been rejected, and who is disposed to repay his attachment.
Gwen has certainly kept her own counsel for three weeks past." "Dear Lord Ancester, you are laughing at me...." "No no! No, I wouldn't do that. Perhaps I was laughing a little at human nature. That's excusable. However, I understand that you are cocksure or sanguine about the similarity of Romeo's case. I won't press Gwen about Rosalind's.
"That," replied the Captain, with an accent of honest pride, "is what I consider one of my chef-dovers. I term it a 'Shakespearian composite. In order to please the tastes of certain audiences, I shall describe it as the balcony scene between Romeo and Juliet. Yon may note Romeo's mandolin lying at his feet, while over the whole falls the melancholy light of a full moon rising behind the palace.
Then Paris said, "I defy you, and I arrest you as a felon," and Romeo, in his anger and despair, drew his sword. They fought, and Paris was killed. As Romeo's sword pierced him, Paris cried "Oh, I am slain! If thou be merciful, open the tomb, and lay me with Juliet!" And Romeo said, "In faith I will." And he carried the dead man into the tomb and laid him by the dear Juliet's side.
In imagining the character of Romeo, a character to fit the plot of the old story, he took little thought for his actors. In conjuring up the probabilities which would lead a man into such a course of conduct as Romeo's, Shakespeare had in his mind the probabilities and facts in real life rather than the probabilities demanded by the stage.
The good friar was already up at his devotions, but seeing young Romeo abroad so early, he conjectured rightly that he had not been a-bed that night, but that some distemper of youthful affection had kept him waking. He was right in imputing the cause of Romeo's wakefulness to love, but he made a wrong guess at the object, for he thought that his love for Rosaline had kept him waking.
The duel scene is vigorous and effective, and the song allotted to Romeo's page an impertinent insertion of the librettists is intrinsically delightful. It is typical of the musician that he should put forth his full powers in the chamber duet, while he actually omits the potion scene altogether, which is the legitimate climax of the act.
Romeo's young face was set in stern and unaccustomed lines. He, then, was directly responsible for Isabel's tears. He had run over them and hurt Isabel and made everything wrong for her, and, because she was a lady, she wasn't blaming him in the least. She had merely pointed out to him, as gently as she could, what he had done to her.
Lady Capulet, whose extreme grief for the loss of her kinsman Tybalt made her keep no bounds in her revenge, exhorted the prince to do strict justice upon his murderer, and to,pay no attention to Benvolio's representation, who, being Romeo's friend and a Montague, spoke partially. Thus she pleaded against her new son-in-law, but she knew not yet that he was her son-in-law and Juliet's husband.
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