muscular tonus

, Act III, Scene III, line 130. Borachio: Seest thou not, I say, what a deformed thief this fashion is, how giddily ’a turns about all the hot-bloods between fourteen and five-and-thirty, sometimes fashioning them like Pharaoh’s soldiers in the reechy painting, sometime like god Bel’s priests in the old church-window, sometime like the shaven Hercules in the smirch’d worm-eaten tapestry, where his codpiece seems as massy as his club?

He octaviates some fragments of the tune (including the first note) without even the excuse of avoiding difficult stopping. […] The transcriber adapts chords to his instrument, sometimes octaviates or simplifies the bass on technical grounds, but a peculiarity of this setting is the inclusion of some thorough-bass realization at places where the solo part plays in unison […]

Or was it because he has since been steeped in the relentless positivity of Silicon Valley, where it is verboten to imagine a bad outcome?