customary to give Romeo's words in this passage of the play shows how
far most actors are from understanding the true purport of the lines;
how far from realizing that these few lines are the only opportunity the
actor has of establishing the character of Romeo as a gentleman, a man
of sense and courage, a formidable fellow, not unfit to be the hero of a
play:--

"Alive, in triumph! and Mercutio slain!
Away to heaven, respective lenity,
And fire-ey'd fury be my conduct now!
Now, Tybalt, take the 'villain' back again
That late thou gay'st me;--for Mercutio's soul
Is but a little way above our heads,
Staying for thine to keep him company:
Either thou, or I, or both, must go with him."

The first three lines are spoken by Romeo to himself. They are a
reflection, not a declamation,--a reflection upon which he instantly
acts. He assumes the calmness of a man of his rank who is about to
fight. More than this, Romeo, the man of words and moods, when once
roused, as we shall see later, in a worser cause,--when once pledged to
action,--Romeo shines with a sort of fatalistic spiritual power. He is
now visibly dedicated to this quarrel. We feel sure that he will kill
Tybalt in the encounter. The appeal to the supernatural is in his very
gesture. The audience--nay, Tybalt himself--gazes with awe on this
sudden apparition of Romeo as a man of action.

This highly satisfactory conduct is soon swept away by his behavior on
hearing the news of his banishment. The boy seems to be without much
stamina, after all. He is a pitiable object, and does not deserve the