“Fiery” and “saucy” are both endearments that our Prince of Cats garners throughout William Shakespeare’s Romeo and Juliet (I.i.107, I.v.82). From these descriptors, it is no surprise that Tybalt is often credited as the primary antagonist in the play. After all, Tybalt, who is prideful and quick to anger, kills Mercutio and through his own death sends the two lovers down the inescapable path of tragedy and mutual destruction. However, it is clear that the character is capable of being treated with more nuance and dimension than such a straightforward interpretation would allow. Through a comparison of Tybalt’s portrayals in Franco Zeffirelli’s 1968 film adaptation to Baz Luhrmann’s take from 1996, the extent of Tybalt’s antagonism proves itself to be remarkably variable.
Zeffirelli’s Tybalt played by Michael York opts for an arguably more sympathetic depiction of Juliet’s cousin. While certainly not without fault, he lacks the more violent and villainous nature of Luhrmann’s portrayed by John Leguizamo. Both are ultimately brought down by pride, but York’s Tybalt acts on an overdeveloped sense of familial honor. Leguizamo’s uses this as an outlet for a more deep-seated loathing. These conclusions will be constructed, principally, via the analysis of three key scenes present in both films. These include Tybalt’s first appearance during the opening brawl, the masquerade, and the duels with Mercutio and Romeo. Outlines of each film’s version of the scene will be accompanied by discussion of the salient differences and similarities with reference to the text where relevant. The argument will culminate with a re-examination of Tybalt’s character and role as antagonist. To alleviate ambiguity, Luhrmann’s will be referred ...
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.... This is supported by his relative forbearance during the masquerade, his more developed relationship with his aunt, the initially playful tone of his duel with Mercutio, and his reaction to wounding Mercutio. Conversely, Tybalt L uses those perceived infractions to excuse his tendency for violence. He more easily fills the role of a traditional antagonist and is punished for it. Zeffirelli’s Prince of Cats, however, can be dubbed as “star-cross’d” as he is fiery and, as all those fitting the description must, suffers accordingly (Prologue.6).
Works Cited
Romeo + Juliet. Dir. Baz Luhrmann. Twentieth Century Fox Film Corporation, 1996. Film.
Romeo and Juliet. Dir. Franco Zeffirelli. Paramount Pictures, 1968. Film.
Shakespeare, William. Romeo and Juliet. Ed. Brian Gibbons. London: Routledge, 1980. Print. The Arden Edition of the Works of William Shakespeare.
When asked by Benvolio to make peace in the streets, Tybalt bluntly responds,” talk of peace, I hate the word. As I hate hell all Montagues.” This is the attitude of Tybalt throughout the play. He believes he is doing all for the best and uses violence as his tool. He gets angry at the ball with Romeo being there, “villain as a guest,” and believes it best to defend his family’s honor by later taking revenge. When Tybalt finds Romeo, he thinks it best to fight him and when he ends up killing Mercutio he believes he has done his duty by causing Romeo the same hurt he has brought Tybalt, “the injuries that thou hast done me.”
Tybalt Capulet’s hot-headedness can be shown through the words, actions, and thoughts that occur throughout the play. In act three, scene one, Tybalt states “Boy, this shall not excuse the injuries that thou hast done me; therefore turn and draw.” He says this speaking to the enemy son of the Montague family, Romeo, even though Romeo has done nothing to harm Tybalt. This proves Tybalt's unforgivingness and habit of finding any excuse to fight. In act one, scene five, Tybalt vows that “Patience perforce with willful choler meeting makes my flesh tremble in their different greeting. I will withdraw; but this intrusion shall, now seeming sweet, convert to bitter gall.” This is another example of Tybalt's unforgivingness, but also his tendency to hold grudges that are the cause of many of his unreasonable fights.
‘Romeo and Juliet’ is a tragic play about two star crossed lovers written by Shakespeare in 1595. The play is a timeless teenage tradgedy. “The play champions the 16th Century belief that true love always strikes at first sight,” (Lamb 1993: Introduction) and even in modern times an audience still want to believe in such a thing as love at first sight. Act II Scene II the balcony scene displays that romantic notion perfectly.
Romeo and Juliet is the tragic story of two young, “star-crossed” lovers from feuding families, destined for disaster. The Capulets and the Montagues have an ancient grudge on one another that has been passed down over generations. Unfortunately, Romeo and Juliet end up victims of their families’ vicious loathing. Romeo and Juliet’s story has several intertwining themes such as the aforementioned hatred between the Capulets and Montagues and the revenge Romeo strives for after his friend Mercutio’s death. Also, the love and passion between Romeo and Juliet and the loyalty of Romeo and his friends. Honour and revenge also feature frquently throughout the play including Juliet’s pressure to honour her family, and the revenge Romeo sees as his duty when Tybalt kills Mercutio.
Baz Luhrmann’s Romeo and Juliet is a film that converts Shakespeare’s famous play into a present-day setting. The film transforms the original texts into modern notions, whilst still employing Shakespearean language. Compared to Franco Zeffirelli’s adaptation of Romeo and Juliet, Luhrmann’s picture is easier for a teenage audience to understand and relate to because of his modernisations. Despite the passing of four centuries Shakespeare’s themes of love, hate, violence, family and mortality remain the same regardless of the setting.
As already shown, both Romeo and Juliet are horrified to discover that they were family enemies. Despite of this, they both choose to devote their love for eachother. Given this point, it is unrequited love that brings Romeo and Juliet together. But this also means that they would have to get over the fact that their families hate each other. This eventually leads them to forgiving the rival family for all the hateful acts that have occurred against one another. This is not the only forgiveness that is experienced in this play. Tybalt is a Montague with a fiery attitude. After catching Romeo at a party he was not supposed to be at, Tybalt had it out for Romeo. Just after Romeo and Juliet’s wedding, Tybalt comes looking for him wanting to fight. Romeo does not want to fight because he now loves Tybalt since he is family to him, but neither Tybalt or anyone else knows this reason. Quickly Mercutio steps in and tells Tybalt that he will fight him in honour of Romeo. Sadly this leads to the death of Mercutio. Romeo is angry and in need of revenge, which creates an intense fight between Tybalt and Romeo. Romeo wins this battle, killing Tybalt. He leaves in a hurry, only to discover that he would be banished from Verona. The death of Tybalt is absolutely devastating to Juliet. Her cousin was murdered by her husband. But she did not hesitate to forgive Romeo, she did so right away. She knew that Romeo had a reason for this incident and decides to
Tybalt uses gentle expressions such as ‘love’ only to sharply accuse Romeo if a villain. Although somewhat insignificant, this sentence structure adds to the cruelty that Tybalt portrays. Romeo does not want to fight and explains reasons as to why, however Tybalt will not accept that he is not fighting someone and Mercutio gives Tybalt the perfect reason and opportunity to start a fight. Shakespeare seems to want the audience to sees Tybalt’s urge to pick fights as a big reason for the tragedy.
Shakespeare, William. Romeo and Juliet. Ed. Barbara Mowat and Paul Werstine. N.p.: n.p., n.d. Print.
Mercutio and Benvolio encountered Tybalt on the street of Verona and soon enough the newly wed Romeo came. Tybalt then provokes a fight with Romeo, " 'Romeo the love I bear thee can afford no better term than this: Thou art a villain', said Tybalt." Shakespeare's play (3, 1, 61-62, 119). Romeo, on the other hand, turned down Tybalt's invitation with a response of, " 'Villain I am none. Therefore, farewell. I see thou knowest me not.' " (3, 1, 65-66, 119). Mercutio was greatly disappointed with Romeo so he just accepted Tybalt's challenge, which caused his death. Mercutio died cursing the Capulets and Montagues. Romeo felt the pain of Mercutio's lost. He craved for revenge over Tybalt so he slain him from his return. The lost of a best friend pushed Romeo to kill Tybalt. He never realized that it would end up that way, that he will lose him. It was the moment that he felt the importance of Mercutio in his life.
Another episode of fate, or rather dramatic irony, happens when Romeo somehow misses getting a letter from Tybalt Capulet, his enemy, challenging him to a duel. Romeo, unknowing of the tragic letter sent to him, but not gotten, goes to tell his friends of his beautiful bride, but, in return, comes face-to-face with none other than Tybalt, his loathed enemy, the kin to his new bride, Juliet. As soon as Romeo shows up, though, he is greeted by Tybalt’s insults, calling him a villain, but instead of stepping up to Tybalt’s challenge, though, Romeo backs down, saying, “Tybalt, the reason that I have to love thee doth much excuse the appertaining rage to such a greeting. Villain I am none. Therefore farewell. I see thou knowest not me.” After harsh words are spoken, families are disgraced, and names are scorned, Romeo finally just backs away. Mercutio, though, cannot let his man be put to disgrace, so he decides to defend Romeo’s name.
Shakespeare, William. Romeo and Juliet. Language of Literature. Ed. Arthur N. Applebee. Evanston: McDougal Littell, 2002. Print.
Prior to this scene, Shakespeare shows an insight into each character. Tybalt is portrayed as a hostile character that has extreme hatred towards the Montague’s. He is very protective of his family and this is seen in his aggression and willingness to fight:
Watts, Cedric. Twayne's New Critical Introductions to Shakespeare: Romeo and Juliet. Boston: Twayne Publishers, 1991.
3 Dec. 2013. Kerschen, Lios. A. A “Critical Essay on ‘Romeo and Juliet’. ” Drama for Students. Ed.
The Web. 1 May 2014. onlinelibrary.wiley.org/>. Shakespeare, William, and Burton Raffel. Romeo and Juliet.