Encyclopedia Marysuenica
Tybalt is sad it makes me love him.jpg

Tybalt is a minor character from Shakespeare's Romeo and Juliet, although he is based off the musical version, the Hungarian one in particular, because it owns. Originally made by Renn, he has been adopted by Sarrin. Most of his plot is from his time with the former.

Background and History[]

The Montagues and the Capulets (although Tybalt would probably render it thusly: The Capulets and the Montagues) have beha gayyyyyyyyyyyyyyyyyyyyyyymber (although, funny enough, not one remembers why), and their hatred distorts the lives of their children more than it affects them. Sexy Tybalt is not actually a Capulet himself except by law; his father's younger sister became Lady Capulet by marriage and convinced her husband to adopt him. Tybalt's memory of his parents is dim, but he has never quite come to see his adopted parents as parents at all. He is not referred to as a son by them, which might have something to do with it.

From a young age - although not from birth; his parents themselves raised him away from the feud until they died, when he was seven - he was trained to defend Capulet's honor, which he does admirably, although as anything other than a duellist he fails miserably, and knows it. His intense love for his aunt - and his even more passionate love for his cousin - are both totally unrequited. (The latter has furthermore been suppressed in response to her marriage to Romeo Montague.) In Verona, he'd only ever been with a woman paid to do so.

He is an epileptic. This is due to an injury incurred during an early accident horse-riding; for a very long time Tybalt, who had been terrified of horses as a child even before this incident, hated the animals. (Tybalt hated a lot of things when he was young.) His horse is currently one of the only things he feels any tenderness for - at least, the kind he's willing to show.

It would be a simplification to say that he loathes himself.


Tybalt undoubtedly mumbled something incomprehensible about his reasons for going to Paris, but the simple truth of it is that his cousin Julia recently dishonored the family and broke his heart by marrying his mortal enemy*, and he would have liked nothing more than to forget he ever looked on her. Paris, however, holds many distractions, one of them in the shape of a buxom ballerina named Meg Giry, and the other irritatingly familiar as Mercutio. Although he's starting to figure out the shape of Mercutio, too, in a way he'd have never guessed with the man's clothes on.

((*I know this is not what was played, but it's the only reason I can think of for him to leave Paris.))

Appearance and Personality[]

Tybalt is tall and wiry, well-built and athletic, although when he is not directing his energy into his considerable skill with fighting, he does not seem to know how to move, and there is something odd and erratic about his motion. He is rather beautiful in a striking, intense way, with dark looks and a strong presence; he is generally oblivious to this, as might be expected.

He has repressed more or less most everything about himself and tends to be broody and despairing; his temper is short and he is quick to rage, because rage is one of the only feelings he can express and allow himself to unwind in. The only things he is comfortable with are those staples of his feud-themed upbringing, and yet, despairing of that, too, they do not give him much pleasure without simultaneously delivering its opposite. Paris has led to some - to his mind - unsavory side-effects. While he is outside of Verona's hate-charged atmosphere he is in some ways finding a new beginning, but this, unfortunately, also makes him think, and it is very hard on him for him to challenge his rigid notions of the world.



Mercutio is the bane of Tybalt's existence. He is also really, really, ridiculously amazing in bed. Tybalt is not pleased by this.

It's not love unless you actually express it through attempted bone-breaking, right?

Except, um, when he is.

Tybalt thinks more than Mercutio (and talks less), but he does not always like what he finds. When he finds himself coming to the conclusion that there could be tenderness intimacy something other than hate anything less than oh-so-rigid animosity between them, he represses the thought. (Yeah, that was a pun.)


Tybalt met the ballerina Meg Giry at a dance. If either was capable of knowing what love is, it might have been love at first sight. Their courtship has been awkward, but persistent, and with more cute moments than anyone knows what to do with.

Meg performing. Tybalt has probably seen more of her performances than she is aware of.

Tybalt does think he genuinely loves Meg, but he is convinced she could never love him; his own self-loathing means he thinks himself unworthy of her. Any physical expression of intimacy between them is always abruptly canceled out by this.

What was the "Appearance and Personality" section before I made this profile serious[]

It occurs to me that if the personality were different, Tybalt might dress more snazzily, more sexily, in perhaps more tank tops, more daring pants, with bracelets or a ponytail or somesuch gloriousness. He might also slink around in a more feline manner and exude even more intimidating badassery than he already does. Actually, he would be very similar to his nemesis and sometimes-loverbedfellow Mercutio.

But Tybalt's personality is not different. It is repressed.


He's still a babe, though.

Other inside jokes and the like can be found at the comical Mercapulet page. Hey, considering how much misery is going to take place in this plot, they deserve a comical page.