Romeo & Juliet Study Guide
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Act I, Scene 4
A street

Scene Summary

Romeo, Benvolio, and Mercutio prepare to crash the Capulet feast in masks. Romeo is melancholy and reluctant; Mercutio tries to cheer him with wit and the famous Queen Mab speech about a fairy who brings dreams. The speech spirals from whimsy into darkness before Romeo cuts him off. Romeo confides a premonition that the night's events will lead to his death, but surrenders to fate and goes anyway.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
ROMEO. What, shall this speech be spoke for our excuse? Or shall we on without apology? BENVOLIO. The date is out of such prolixity. We'll have no Cupid hoodwinked with a scarf, Bearing a Tartar's painted bow of lath, Scaring the ladies like a crowkeeper; Nor no without-book prologue, faintly spoke After the prompter, for our entrance. But let them measure us by what they will. We'll measure them a measure and be gone. ROMEO. Give me a torch. I am not for this ambling. Being but heavy, I will bear the light. MERCUTIO. Nay, gentle Romeo, we must have you dance. ROMEO. Not I, believe me. You have dancing shoes With nimble soles. I have a soul of lead So stakes me to the ground I cannot move. MERCUTIO. You are a lover. Borrow Cupid's wings And soar with them above a common bound. ROMEO. I am too sore enpierced with his shaft To soar with his light feathers, and so bound, I cannot bound a pitch above dull woe. Under love's heavy burden do I sink. MERCUTIO. And, to sink in it, should you burden love — Too great oppression for a tender thing. ROMEO. Is love a tender thing? It is too rough, Too rude, too boisterous, and it pricks like thorn. MERCUTIO. If love be rough with you, be rough with love. Prick love for pricking, and you beat love down. — Give me a case to put my visage in. A visor for a visor! What care I What curious eye doth quote deformities? Here are the beetle brows shall blush for me. BENVOLIO. Come, knock and enter, and no sooner in But every man betake him to his legs. ROMEO. A torch for me. Let wantons light of heart Tickle the senseless rushes with their heels, For I am proverbed with a grandsire phrase: I'll be a candle-holder and look on; The game was ne'er so fair, and I am done. MERCUTIO. Tut, dun's the mouse, the constable's own word. If thou art dun, we'll draw thee from the mire — Or, save your reverence, love — wherein thou stickest Up to the ears. Come, we burn daylight, ho! ROMEO. Nay, that's not so. MERCUTIO. I mean, sir, in delay We waste our lights in vain, like lights by day. Take our good meaning, for our judgment sits Five times in that ere once in our five wits. ROMEO. And we mean well in going to this masque, But 'tis no wit to go. MERCUTIO. Why, may one ask? ROMEO. I dreamt a dream tonight. MERCUTIO. And so did I. ROMEO. Well, what was yours? MERCUTIO. That dreamers often lie. ROMEO. In bed asleep while they do dream things true. MERCUTIO. O, then I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate stone On the forefinger of an alderman, Drawn with a team of little atomies Over men's noses as they lie asleep. Her wagon spokes made of long spinners' legs, The cover of the wings of grasshoppers, Her traces of the smallest spider web, Her collars of the moonshine's wat'ry beams, Her whip of cricket's bone, the lash of film, Her wagoner a small grey-coated gnat Not half so big as a round little worm Pricked from the lazy finger of a maid. Her chariot is an empty hazelnut Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers. And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on curtsies straight; O'er lawyers' fingers, who straight dream on fees; O'er ladies' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues Because their breaths with sweetmeats tainted are. Sometimes she gallops o'er a courtier's nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig's tail Tickling a parson's nose as he lies asleep, Then he dreams of another benefice. Sometime she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five fathom deep, and then anon Drums in his ear, at which he starts and wakes, And, being thus frighted, swears a prayer or two And sleeps again. This is that very Mab That plats the manes of horses in the night And bakes the elflocks in foul sluttish hairs, Which once untangled much misfortune bodes. This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage. This is she — ROMEO. Peace, peace, Mercutio, peace! Thou talk'st of nothing. MERCUTIO. True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who woos Even now the frozen bosom of the north And, being angered, puffs away from thence, Turning his side to the dew-dropping south. BENVOLIO. This wind you talk of blows us from ourselves. Supper is done, and we shall come too late. ROMEO. I fear too early, for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date With this night's revels, and expire the term Of a despisèd life closed in my breast By some vile forfeit of untimely death. But He that hath the steerage of my course Direct my sail. On, lusty gentlemen. BENVOLIO. Strike, drum. [Exeunt.]
Modern English
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Mercutio's Queen Mab speech is one of Shakespeare's most celebrated passages and the scene's centerpiece. It begins as playful fancy — a miniature fairy in a hazelnut chariot — but darkens progressively. The dreams Queen Mab brings reveal human corruption: courtiers dream of advancement, lawyers of fees, soldiers of violence. By the end, she's a "hag" pressing maidens on their backs — the fairy tale has become a nightmare.

This trajectory mirrors the play itself: beauty curdling into darkness. Mercutio's speech also reveals his deep cynicism about love and dreams. Where Romeo sees fate and meaning, Mercutio sees "nothing" — "vain fantasy" as thin as air. His worldview is the opposite of Romeo's romantic idealism.

The scene is dense with wordplay: "soles/soul," "bound/bound," "prick/prick," "dun/done/Dun" — Mercutio and Romeo duel with language the way their families duel with swords. This verbal sparring is Mercutio's natural element.

Romeo's final speech is the scene's most important: "my mind misgives / Some consequence yet hanging in the stars / Shall bitterly begin his fearful date / With this night's revels." This is explicit foreshadowing — Romeo senses his own death approaching but chooses to go anyway, surrendering to "He that hath the steerage of my course." Free will submits to fate.

The contrast between Mercutio's worldview (dreams are meaningless) and Romeo's (fate is real and inescapable) creates a philosophical tension that the play never fully resolves. Who is right? Shakespeare leaves it to the audience.

Themes
Fate Dreams Love Cynicism vs. Idealism Death Free Will
Literary Devices
Queen Mab Speech Foreshadowing Pun Wordplay Imagery Tone Shift Dramatic Irony
Characters
Romeo Mercutio Benvolio
Motifs
Dreams Stars Light and Dark Masks
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