MISCELLANEOUS
157
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 41, 13.
| Jacques. | I have neither the scholar's melancholy, which is emulation; nor the musician's, which is fantastical, etc. |
Measure for Measure 41, 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 51, 66. Enter musicians.
| Lor. | Come ho! and wake Diana with a hymn: |
