| Luc.
|
No, madam, it is too sharp.
|
| Jul.
|
You, minion, are too saucy.
|
| Luc.
|
Nay, now you are too flat,
And mar the concord with too harsh a descant:
There wanteth but a mean to fill your song.
|
| Jul.
|
The mean is drown'd with your unruly base.
|
| Luc.
|
Indeed, I bid the base for Proteus.
|
Perhaps it is sufficient to remark that many of the italicized words above are still in ordinary use by musicians—e.g., to 'give the note' in order to 'set' the pitch for singing; to 'keep in tune,' to 'sing out'; or one voice is 'drowned' by another, as the 'mean' (alto) by the 'bass.' Once more we have quibbles on musical terms—Lucetta says the 'tune,' i.e., Julia's testiness about Proteus' letter, is 'too sharp,' and that her chiding of herself is 'too flat,' meaning, that neither is in 'concord' with the spirit of the love-letter. Lucetta recommends the middle course, or 'mean' (alto voice, midway between treble and bass), 'to fill the song,' i.e., to perfect the harmony. Finally, there is a punning reference (somewhat prophetic) by Lucetta, to the 'base' conduct of Proteus, in forsaking Julia for Silvia. Another play upon words should not be missed, viz., in ll. 78 and 79, where 'set' does double duty.
Rom. 3/5, 25. Romeo and Juliet's parting at day-
