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.
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