_Romeo._ How is't, my soul? let's talk, it is not day.

_Jul._ It is, it is; hie hence, be gone, away!
It is the _lark_ that sings so _out of tune_,
Straining _harsh discords_, and unpleasing _sharps_.
Some say, the lark makes _sweet division_;
_This_ doth not so, for she _divideth us_.

Juliet evidently agrees with Portia that 'nothing is good without
respect.' The lark heralds the dawn, so Romeo must leave her, _ergo_,
the lark sings 'out of tune,' his strains are full of 'discords' and
'sharps.' The last two lines contain an interesting allusion in the
word 'division,' besides the pun on 'she _divideth us_.'

'Division' means roughly, a brilliant passage, of short notes, which
is founded essentially on a much simpler passage of longer notes. A
cant term for the old-fashioned variation (_e.g._, the variations of
the 'Harmonious Blacksmith') was 'Note-splitting,' which at once
explains itself, and the older word 'Division.' A very clear example
of Divisions may be found in 'Rejoice greatly' in the Messiah. The
long 'runs' on the second syllable of '_Rejoice_,' consisting of
several groups of four semiquavers, are simply 'division' or
'note-splittings' of the first note of each group.

The word, however, has a further use, namely, to play 'divisions' on a
viol-da-gamba. This was a favourite accomplishment of gentlemen in the
16th and 17th centuries. Sir Andrew Aguecheek numbered this amongst
his attainments, (see _Twelfth Night_ I, iii, 24); and readers of John
Inglesant will remember that 'Mr Inglesant, being pressed to oblige
the company, played a descant upon a ground bass in the Italian
manner.' Playing a descant on a ground bass meant playing extempore
'divisions' or variations, to the harmony of a 'ground bass' which
(with its proper chords) was repeated again and again by the
harpsichordist, until the viol player had exhausted his capacity to
produce further 'breakings' of the harmony.

In 1665 there was published an instruction book in this art, called
Chelys Minuritionum, _i.e._, the 'Tortoise-shell of Diminutions,'
hence (Chelys meaning a lyre, made of a tortoise-shell) 'The Division
Viol.' The book is by Christopher Sympson, a Royalist soldier, who was
a well-known viol-da-gamba player. The work is in three parts, the
third of which is devoted to the method of ordering division on a
ground.

To give his own words--

'Diminution or division to a ground, is