JUL. Let's see your song: Luc. Keep tune there still, so you will sing it out: And yet, methinks, I do not like this tune. JUL. You do not? Luc. No, madam; 'tis too sharp. JUL. You, minion, are too saucy. Luc. Nay, now you are too flat, And mar the concord with too harsh a descant b: Go, get you gone; and let the papers lie: You would be fingering them, to anger me. Luc. She makes it strange; but she would be best pleas'd To be so anger'd with another letter. JUL. Nay, would I were so anger'd with the same! O hateful hands, to tear such loving words! [Tears the letter. [Exit. Set-compose. Julia plays upon the word, in the next line, in a different sense,-to "set by " being to make account of. Descant. The simple air, in music, was called the "Plain song," or ground. The "descant" was what we now call a "variation." • Mean-the tenor. The whole of the musical allusions in this passage show that the terms of the art were familiar to a popular audience; and that music (of which there can be no doubt) was generally cultivated in Shakspere's time. The quibbling Lucetta here turns the allusion to the country game of base, or prison-base, in which one runs and challenges another to pursue. Injurious wasps! to feed on such sweet honey", Look, here is writ-" kind Julia; "-unkind Julia! I throw thy name against the bruising stones, And throw it thence into the raging sea! Re-enter LUCETTA. Luc. Madam, dinner is ready, and your father stays. Luc. What, shall these papers lie like tell-tales here? Yet here they shall not lie, for catching cold. JUL. I see you have a month's mind to them. JUL. Come, come, will 't please you go? SCENE III.-The same. A Room in Antonio's House. Enter ANTONIO and PANTHINO. C ANT. Tell me, Panthino, what sad talk was that, Wherewith my brother held you in the cloister? PAN. 'T was of his nephew Proteus, your son. [Exeunt. a Search-probe. For catching cold-lest they should catch cold. Sad-serious. ANT. Why, what of him? PAN. He wonder'd that your lordship He said that Proteus, your son, was meet: And perfected by the swift course of time: Then, tell me, whither were I best to send him? PAN. I think your lordship is not ignorant, How his companion, youthful Valentine, ANT. I know it well. PAN. T were good, I think, your lordship sent him thither: 10 There shall he practise tilts and tournaments 1o, Hear sweet discourse, converse with noblemen; Worthy his youth and nobleness of birth. ANT. I like thy counsel; well hast thou advis'd: Even with the speediest expedition I will despatch him to the emperor's court. Are journeying to salute the emperor, ANT. Good company; with them shall Proteus go: And,-in good time a.-Now will we break with him ". In good time. As Antonio is declaring his intention Proteus appears; the speaker, therefore, breaks off with the expression, " in good time "-à propos. Break with him. Break the matter to him, a form which repeatedly occurs. Enter PROTEUS. PRO. Sweet love! sweet lines! sweet life! ANT. How now? what letter are you reading there? Wishing me with him, partner of his fortune. And not depending on his friendly wish. Excuse it not, for I am peremptory. Please you, deliberate a day or two. ANT. Look, what thou want'st shall be sent after thee: PRO. Thus have I shunn'd the fire, for fear of burning; I fear'd to show my father Julia's letter, Lest he should take exceptions to my love; [Exeunt ANT. and PAN. Exhibition-stipend, allowance. The word is still used in this sense with reference to any special fund for a scholar's maintenance in our universities. 0, how this spring of love resembleth The uncertain glory of an April day; Which now shows all the beauty of the sun, And by and by a cloud takes all away! Re-enter PANTHINO. PAN. Sir Proteus, your father calls for you; He is in haste; therefore, I pray you go. [Exeunt. |