By the Friar’s advice, Juliet at length consents to marry Paris, and then Capulet is filled with impotent glee—being as absurd now in his joy as he lately was in his anger. When Juliet the next morning is found apparently dead, the lamentations of the several persons present (each of whom indulges his own proper emotions) are singularly in character. Capulet—the “rich” Capulet, as he is often styled in the play—bewails the loss of his “heir;” Lady Capulet mourns for her “only child;” Paris for his “love in death;” whilst the Nurse indulges her grief in boisterous and empty vociferation— O wo! O woful, woful, woful day! Most lamentable day! most woful day That ever, ever I did yet behold! O day! O day! O day! O hateful day. The musicians who had come to play at the wedding are about to retire, when Peter enters and engages them in a quibbling conversation; and in the course of it recites the following verses, which are also made to inculcate the great sentiment of the play, _the readiness with which the mind submits to passing influences_: When griping grief the heart doth wound, And doleful dumps the mind oppress, Then music, with her silver sound, With speedy help doth lend redress. The same idea pervades the scene in which the Apothecary is introduced. Romeo’s description of him is prefaced by this pertinent reflection: O _mischief_! thou art swift To enter in the thoughts of _desperate_ men! The word “desperate” here refers to his own circumstances, but he immediately applies it to the Apothecary, and describes his _desperate poverty_: and hence infers his readiness to do a _desperate_ deed: Art thou so bare and full of wretchedness, And fear’st to die? The next scene (Act 5th, Scene 2d) is a very short one, and is wholly occupied with a conversation between Friar Laurence and Friar John, in which the latter relates that he had failed to carry the letter to Romeo, as he had promised, because the “searchers of the town,” suspecting that he had been in a house where “the infectious pestilence did reign,” locked him up, etc. The “central idea” is found here also—in the allusion to the pestilence, and the alarm which the mere rumor of it inspires.