Part 35

This is finer than Pythagoras.

The next three passages are concerned with the 'fantasie' of Music. Jaques gives an opinion in a general form--viz., that the musician's 'melancholy' is 'fantastical'; Mariana and the Duke speak of a certain doubleness that may be noticed in the action of music on the mind. Jessica is 'never merry' when she hears sweet music: Lorenzo descants on the evident effects of music on even hardened natures; while Portia and Nerissa preach a neat little sermon on the text 'Nothing is good without respect,' with musical illustrations of the powerful influence of time and place--e.g., the silence of night, makes the music sound sweeter than by day; the crow sings as well as the lark, if the circumstances favour the crow, or if the lark is not present to give immediate comparison; and even the nightingale's song is no better than the wren's, 'by day, when every goose is cackling.'

As You IV, i, 13.

Jaques. I have neither the scholar's melancholy, which is emulation; nor the musician's, which is fantastical, etc.

Measure for Measure IV, i, 12. Enter Duke, disguised as a friar (after Song).

Mariana. I cry you mercy, sir; and well could wish You had not found me here so musical: Let me excuse me, and believe me so, My mirth it much displeased, but pleas'd my woe.

Duke. 'Tis good: though music oft hath such a charm, To make bad good, and good provoke to harm.

Merchant V, i, 66. Enter musicians.

Lor. Come ho! and wake Diana with a hymn: With sweetest touches pierce your mistress' ear, And draw her home with music.

Jessica. I am never merry when I hear sweet music.

Lor. The reason is, your spirits are attentive. For ... colts,

* * * * *

If they but hear perchance a trumpet sound, Or any air of music touch their ears, You shall perceive them make a mutual stand, Their savage eyes turn'd to a modest gaze. By the sweet power of music: therefore, the poet Did feign that Orpheus drew trees, stones, and floods: Since nought so stockish, hard, and full of rage, But music for the time doth change his nature. The man that hath no music in himself, Nor is not mov'd with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; The motions of his spirit are dull as night, And his affections dark as Erebus. Let no such man be trusted.--Mark the music.

L. 97. Portia and Nerissa.

Por. ... Music! hark!

Ner. It is your music, madam, of the house.

Por. Nothing is good, I see, without respect. Methinks, it sounds much sweeter than by day.

Ner. Silence bestows that virtue on it, madam.

Por. The crow doth sing as sweetly as the lark, When neither is attended; and I think, The nightingale, if she should sing by day, When every goose is cackling, would be thought No better a musician than the wren. How many things by season season'd are To their right praise, and true perfection.

Here is an example of a superstitious meaning attaching to supposed mysterious music.

There are very few cases of this kind in Shakespeare--i.e., where the music of the stage is an integral part of the drama.

Antony and Cleop. IV, iii, 12. Music of hautboys under the stage.

4 Soldier. ... Peace, what noise?

1 Sold. List, list!

2 Sold. Hark!

1 Sold. Music in the air.

3 Sold. Under the earth.

4 Sold. It signs well, does it not?