As Mercutio tells Benvolio, he hates Tybalt for being a slave to fashion and vanity, one of “such antic, lisping, affecting phantas- / ims, these new tuners of accent! . . these fashionmongers, these ‘pardon-me’s’ ” (–29). Mercutio is so insistent that the reader feels compelled to accept this description of Tybalt’s character as definitive. Tybalt does prove Mercutio’s words true: he demonstrates himself to be as witty, vain, and prone to violence as he is fashionable, easily insulted, and defensive. To the self-possessed Mercutio, Tybalt seems a caricature; to Tybalt, the brilliant, earthy, and unconventional Mercutio is probably incomprehensible. (It might be interesting to compare Mercutio’s comments about Tybalt to Hamlet’s description of the foppish Osric in Act 5, scene 2 of Hamlet, lines 140–146.)
It's also one of the most adapted plays of all time—Franco Zeffirelli made it into an Oscar winning film in 1968 and the play was also adapted into a Tony Award winning musical, West Side Story (1957). Romeo and Juliet has inspired countless pop lyrics, like Taylor Swift's " Love Story ," Dire Straits' " Romeo and Juliet ," and The Reflections' doo-wop style " (Just Like ) Romeo and Juliet ." Almost any "forbidden love" stories can trace their genealogy back to Romeo and Juliet , from Wuthering Heights to Stephenie Meyer's Twilight saga.