That is, in contemplating the beauty of Rosaline. In this, Shakspeare has departed from the original story, in which Romeo goes to the feast, not to _see_, but to endeavor to _forget_ Rosaline. Inasmuch as it presents his fickleness in a stronger light, this variation has been thought to injure the effect of Romeo’s character—for he no sooner sees Juliet than Rosaline is utterly forgotten; her image expelled from his heart, and replaced by the more beauteous image of Juliet. Shakspeare’s object in the variation, in this as in other instances, undoubtedly was, in pursuance of his theme, to make the transition as sudden and as conspicuous as possible. The effect being favorable to his main design, he cared little how it operated in other respects. Old Capulet, as the revels progress, is filled with the spirit of the occasion. His heart overflows with genial hospitality; and inspired by the array of beauty around him, he descants on the time when he himself “could tell a whispering tale in a fair lady’s ear.” Tybalt, recognising Romeo, a Montague, among the guests, instantly calls out, “Fetch me my rapier!” On this, as on all occasions, the sight of a Montague is with him a sufficient signal for battle. But Capulet, whose ruling passion now is hospitality, rebukes and restrains him: Let him alone! I would not for the wealth of all this town, Here, _in my house_, do him disparagement. The unrestrained outpouring of the heart in the garden scene, needs only to be referred to. Whatever thought or feeling occurs at the moment drives out all other thoughts and feelings. Juliet dismisses Romeo with a thousand good-nights; then recalls him with passionate exclamations, and then says, “I have forgot why I did call thee back.” Her impatience to hear the Nurse’s report of Romeo’s message, with the Nurse’s tantalizing circumlocutions, (Act 2d, Scene 5th,) and her tumultuous emotions on hearing that her husband, Romeo, had killed her cousin Tybalt, (Act 3d, Scene 2d,) are equally in keeping with the general subject.