This conceit leads to others about the sun, and moon, and stars, and Juliet’s eyes, which occupy the whole speech, and the remainder of the scene is either of a similar character, or distinguished by sudden revulsions of feeling, which I shall notice hereafter. The whole scene is highly illustrative of the theme. Beautiful as some of the “conceits” of the garden scene are, Mercutio’s description of Queen Mab caps the climax of fantastical analogies: Her wagon-spokes made of long spinners’ legs, The cover, of the wings of grasshoppers; The traces of the smallest spider’s web; The collars of the moonshine’s watery beams, etc. etc. He represents her as galloping in this state through lover’s brains, o’er lawyer’s fingers, etc., when the former straight dreams of love, the latter of fees; and each according to his character, that is, their dreams are shaped by the influence of the moment, which is agreeable to the “central idea.” Indeed, this speech is not more remarkable for the exquisite ingenuity and propriety of its comparisons and allusions, than for its perfect adaptation to the general subject of the play. Similar conceits and quibbles abound throughout the play, in the most beautiful passages, and in the most heart-rending scenes. When Juliet hears that Romeo, her “three-hours husband,” has killed her cousin Tybalt, her _conflicting emotions_ find vent in a string of _antitheses_: “Beautiful tyrant, fiend angelical, dove-feathered raven,” etc. In like manner Romeo’s group of contrasts in Act 1st, Scene 1st, is suggested by the juxtaposition of the words “love” and “hate.” Both Romeo and Juliet quibble when relating their griefs to Friar Laurence. The Friar himself quibbles whilst attempting to console them; there is quibbling in the beautiful chamber scene, and in the scene so full of horrors at the church-yard. Leaving the reader to follow up these suggestions at his pleasure, I proceed to notice some of the passages in which this spirit of _abandonment_ is exemplified in reference to, 2. _Passion, Impulse, etc._ I have already alluded to the _affray_ in the first scene. Romeo’s love for Rosaline is strongly painted in the subsequent part of that, and in the following scene. Benvolio persuades him to go to the feast at Capulet’s, where Rosaline is to sup, promising that by showing him other beauties he will make him “think his swan _a crow_.” Romeo, in reply, makes loud protestations of fidelity to Rosaline, and declares that “the all-seeing sun ne’er saw her match;” and when he finally consents to go, expressly declares his purpose: I’ll go along, no such sight to be shown, But to rejoice in splendor of mine own.