ACT III - Scene II Romeo and Juliet


Previous Chapter Next Chapter

Juliet alone on the balcony, anxiously awaiting news of Romeo
Juliet on the Balcony by Thomas Francis Dicksee (1875)

Capulet's orchard.

Enter Juliet alone.

JULIET
Gallop apace, you fiery-footed steeds,
Towards Phoebus' lodging! Such a wagoner
As Phaeton would whip you to the West
And bring in cloudy night immediately.
Spread thy close curtain, love-performing night,
That runaway eyes may wink, and Romeo
Leap to these arms untalk'd of and unseen.
Lovers can see to do their amorous rites
By their own beauties;
or, if love be blind,
It best agrees with night. Come, civil night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play'd for a pair of stainless maidenhoods.
Hood my unmann'd blood, bating in my cheeks,
With thy black mantle till strange love, grown bold,
Think true love acted simple modesty.
Come, night;
come, Romeo;
come, thou day in night;

For thou wilt lie upon the wings of night
Whiter than new snow upon a raven's back.
Come, gentle night;
come, loving, black-brow'd night;

Give me my Romeo;
and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possess'd it;
and though I am sold,
Not yet enjoy'd. So tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them. O, here comes my nurse,

Enter Nurse, with cords.

And she brings news;
and every tongue that speaks
But Romeo's name speaks heavenly eloquence.
Now, nurse, what news? What hast thou there? the cords
That Romeo bid thee fetch?

NURSE
Ay, ay, the cords.

[Throws them down.]

JULIET
Ah me! what news? Why dost thou wring thy hands?

NURSE
Ah, weraday! he's dead, he's dead, he's dead!
We are undone, lady, we are undone!
Alack the day! he's gone, he's kill'd, he's dead!

JULIET
Can heaven be so envious?

NURSE
Romeo can,
Though heaven cannot. O Romeo, Romeo!
Who ever would have thought it? Romeo!

JULIET
What devil art thou that dost torment me thus?
This torture should be roar'd in dismal hell.
Hath Romeo slain himself? Say thou but 'I,'
And that bare vowel 'I' shall poison more
Than the death-darting eye of cockatrice.
I am not I, if there be such an 'I';

Or those eyes shut that make thee answer 'I.'
If he be slain, say 'I';
or if not, 'no.'
Brief sounds determine of my weal or woe.

NURSE
I saw the wound, I saw it with mine eyes,
(God save the mark!) here on his manly breast.
A piteous corse, a bloody piteous corse;

Pale, pale as ashes, all bedaub'd in blood,
All in gore-blood. I swounded at the sight.

JULIET
O, break, my heart! poor bankrout, break at once!
To prison, eyes;
ne'er look on liberty!
Vile earth, to earth resign;
end motion here,
And thou and Romeo press one heavy bier!

NURSE
O Tybalt, Tybalt, the best friend I had!
O courteous Tybalt! honest gentleman
That ever I should live to see thee dead!

JULIET
What storm is this that blows so contrary?
Is Romeo slaught'red, and is Tybalt dead?
My dear-lov'd cousin, and my dearer lord?
Then, dreadful trumpet, sound the general doom!
For who is living, if those two are gone?

NURSE
Tybalt is gone, and Romeo banished;

Romeo that kill'd him, he is banished.

JULIET
O God! Did Romeo's hand shed Tybalt's blood?

NURSE
It did, it did! alas the day, it did!

JULIET
O serpent heart, hid with a flow'ring face!
Did ever dragon keep so fair a cave?
Beautiful tyrant! fiend angelical!
Dove-feather'd raven! wolvish-ravening lamb!
Despised substance of divinest show!
Just opposite to what thou justly seem'st-
A damned saint, an honourable villain!
O nature, what hadst thou to do in hell
When thou didst bower the spirit of a fiend
In mortal paradise of such sweet flesh?
Was ever book containing such vile matter
So fairly bound? O, that deceit should dwell
In such a gorgeous palace!

NURSE
There's no trust,
No faith, no honesty in men;
all perjur'd,
All forsworn, all naught, all dissemblers.
Ah, where's my man? Give me some aqua vitae.
These griefs, these woes, these sorrows make me old.
Shame come to Romeo!

JULIET
Blister'd be thy tongue
For such a wish! He was not born to shame.
Upon his brow shame is asham'd to sit;

For 'tis a throne where honour may be crown'd
Sole monarch of the universal earth.
O, what a beast was I to chide at him!

NURSE
Will you speak well of him that kill'd your cousin?

JULIET
Shall I speak ill of him that is my husband?
Ah, poor my lord, what tongue shall smooth thy name
When I, thy three-hours wife, have mangled it?
But wherefore, villain, didst thou kill my cousin?
That villain cousin would have kill'd my husband.
Back, foolish tears, back to your native spring!
Your tributary drops belong to woe,
Which you, mistaking, offer up to joy.
My husband lives, that Tybalt would have slain;

And Tybalt's dead, that would have slain my husband.
All this is comfort;
wherefore weep I then?
Some word there was, worser than Tybalt's death,
That murd'red me. I would forget it fain;

But O, it presses to my memory
Like damned guilty deeds to sinners' minds!
'Tybalt is dead, and Romeo- banished.'
That 'banished,' that one word 'banished,'
Hath slain ten thousand Tybalts. Tybalt's death
Was woe enough, if it had ended there;

Or, if sour woe delights in fellowship
And needly will be rank'd with other griefs,
Why followed not, when she said 'Tybalt's dead,'
Thy father, or thy mother, nay, or both,
Which modern lamentation might have mov'd?
But with a rearward following Tybalt's death,
'Romeo is banished'- to speak that word
Is father, mother, Tybalt, Romeo, Juliet,
All slain, all dead. 'Romeo is banished'-
There is no end, no limit, measure, bound,
In that word's death;
no words can that woe sound.
Where is my father and my mother, nurse?

NURSE
Weeping and wailing over Tybalt's corse.
Will you go to them? I will bring you thither.

JULIET
Wash they his wounds with tears? Mine shall be spent,
When theirs are dry, for Romeo's banishment.
Take up those cords. Poor ropes, you are beguil'd,
Both you and I, for Romeo is exil'd.
He made you for a highway to my bed;

But I, a maid, die maiden-widowed.
Come, cords;
come, Nurse I'll to my wedding bed;

And death, not Romeo, take my maidenhead!

NURSE
Hie to your chamber. I'll find Romeo
To comfort you. I wot well where he is.
Hark ye, your Romeo will be here at night.
I'll to him;
he is hid at Laurence' cell.

JULIET
O, find him! give this ring to my true knight
And bid him come to take his last farewell.

Exeunt.

Frequently Asked Questions about ACT III - Scene II from Romeo and Juliet

What happens in Act 3, Scene 2 of Romeo and Juliet?

Act 3, Scene 2 takes place in Capulet's orchard, where Juliet eagerly awaits nightfall to consummate her secret marriage to Romeo. Her joyful soliloquy is interrupted when the Nurse arrives in a state of distress, crying that "he's dead." The Nurse's confused account initially leads Juliet to believe Romeo himself has been killed. When the truth emerges—that Romeo has killed Tybalt and been banished from Verona—Juliet cycles through grief, anger, and conflicting loyalties before ultimately defending her husband. The scene ends with Juliet sending her ring to Romeo through the Nurse, who reveals he is hiding at Friar Laurence's cell.

What is the significance of Juliet's oxymoron speech in Act 3, Scene 2?

When Juliet learns that Romeo has killed her cousin Tybalt, she unleashes a torrent of oxymorons—"Beautiful tyrant! fiend angelical! / Dove-feather'd raven! wolvish-ravening lamb! / Despised substance of divinest show! / A damned saint, an honourable villain!" These paired contradictions express Juliet's agonizing internal conflict: the man she loves has committed an act of violence against her own family. The speech is significant because it mirrors the play's central theme of warring opposites—love and hate, Montague and Capulet—compressed into a single person. It also marks a turning point in Juliet's character, as she quickly moves past the contradictions to defend Romeo and choose loyalty to her husband over loyalty to her blood.

How does Juliet react to Tybalt's death and Romeo's banishment?

Juliet's reaction unfolds in three distinct stages. First, she is confused and grief-stricken as the Nurse's incoherent account makes her fear that Romeo is dead. Second, upon learning Romeo killed Tybalt, she briefly condemns him with a series of oxymorons—"O serpent heart, hid with a flow'ring face!"—expressing her sense of betrayal. Third, when the Nurse agrees and says "Shame come to Romeo," Juliet pivots sharply to defend her husband, reasoning that Tybalt would have killed Romeo if Romeo had not acted first. Crucially, Juliet declares that Romeo's banishment is worse than Tybalt's death: "That 'banished,' that one word 'banished,' / Hath slain ten thousand Tybalts." This reaction reveals the depth of her love and her emerging independence from her family.

What is the role of the Nurse in Act 3, Scene 2 of Romeo and Juliet?

The Nurse serves as the messenger of tragic news, but her emotional incoherence creates dramatic confusion. Arriving distraught and wailing "he's dead, he's dead," she fails to specify who has died, leading Juliet to assume Romeo is the victim. This miscommunication generates suspense and deepens the audience's sense of dramatic irony. The Nurse also reveals a limitation in her loyalty when she turns against Romeo, declaring "Shame come to Romeo!"—a stance that provokes Juliet's fierce rebuke. This moment foreshadows the Nurse's later advice that Juliet marry Paris, which will permanently rupture their close relationship. By the end of the scene, the Nurse agrees to find Romeo at Friar Laurence's cell and carry Juliet's ring to him, resuming her role as go-between for the lovers.

What does Juliet's soliloquy at the beginning of Act 3, Scene 2 mean?

Juliet's opening soliloquy ("Gallop apace, you fiery-footed steeds") is a passionate invocation of night as she awaits the consummation of her marriage to Romeo. Drawing on classical mythology, she compares the sun to the chariot of Phoebus and wishes that Phaeton, the reckless charioteer, would speed the sun westward to bring darkness sooner. She calls night a "love-performing" ally and a "sober-suited matron" who will cloak the lovers in privacy. The soliloquy also contains unconscious foreshadowing: her image of Romeo cut into "little stars" after death anticipates the play's tragic ending, and her pairing of love with night reinforces the motif that their love can only flourish in darkness, away from the "garish sun" of the feuding public world.

What literary devices does Shakespeare use in Act 3, Scene 2 of Romeo and Juliet?

Act 3, Scene 2 is one of the most rhetorically dense scenes in the play. Oxymoron dominates Juliet's reaction to the news—"Beautiful tyrant," "fiend angelical," "Dove-feather'd raven," "damned saint"—expressing her internal conflict through paired contradictions. Dramatic irony pervades the opening, since the audience already knows about the street fight while Juliet celebrates in ignorance. Apostrophe appears in Juliet's direct addresses to night ("Come, civil night") and to Romeo ("Come, thou day in night"). Shakespeare uses classical allusion with references to Phoebus, Phaeton, and the cockatrice. Foreshadowing runs through the soliloquy, particularly the image of Romeo among the stars and Juliet's closing line about death taking her maidenhead. The Nurse's garbled delivery exemplifies miscommunication, a recurring device that drives the play toward its tragic conclusion.

Why does Juliet defend Romeo after learning he killed Tybalt?

After a brief outburst of oxymorons condemning Romeo, Juliet reverses course when the Nurse echoes her criticism with "Shame come to Romeo!" Juliet snaps back: "Blister'd be thy tongue / For such a wish!" She then reasons through the situation logically: "That villain cousin would have kill'd my husband"—meaning Romeo acted in self-defense against a threat to his life. This moment is pivotal because it shows Juliet choosing her marriage over her birth family, a decision that defines the rest of the play. As a "three-hours wife," she recognizes that her bond to Romeo now supersedes her bond to Tybalt. Her defense marks a major step in her maturation from a sheltered girl into a woman capable of independent moral judgment, even when that judgment puts her at odds with everyone around her.

 

Previous Chapter Next Chapter
Return to the Romeo and Juliet Summary Return to the William Shakespeare Library