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.
[Music.
Jessica. I am never merry when I hear sweet music.
Lor. The reason is, your spirits are attentive.
For ... colts,
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