Act IV. It is the room of _Juliet_, to which _Romeo_ has found access,

in order to bid her farewell, before he goes into exile. The lingering _adieux_, the impassioned accents in which the despair of parting is expressed--these find eloquent utterance in the music. There is the duet, "Nuit d'hyménée, Ô douce nuit d'amour" (Night hymeneal, sweetest night of love). _Romeo_ hears the lark, sure sign of approaching day, but _Juliet_ protests. "Non, non, ce n'est pas le jour" (No, no! 'Tis not yet the day). Yet the parting time cannot be put off longer. _Romeo:_ "Ah! reste! reste encore dans mes bras enlacés" (Ah! rest! rest once more within mine entwining arms); then both, "Il faut partir, hélas" (Now we must part, alas).

Hardly has _Romeo_ gone when _Gertrude_ runs in to warn _Juliet_ that her father is approaching with _Friar Lawrence_. _Tybalt's_ dying wish, whispered into old _Capulet's_ ear, was that the marriage between _Juliet_ and the noble whom _Capulet_ has chosen for her husband, _Count Paris_, be speeded. _Juliet's_ father comes to bid her prepare for the marriage. Neither she, the friar, nor the nurse dare tell _Capulet_ of her secret nuptials with _Romeo_. This gives significance to the quartet, "Ne crains rien" (I fear no more). _Capulet_ withdraws, leaving, as he supposes, _Friar Lawrence_ to explain to _Juliet_ the details of the ceremony. It is then the friar, in the dramatic, "Buvez donc ce breuvage" (Drink then of this philtre), gives her the potion, upon drinking which she shall appear as dead.

The scene changes to the grand hall of the palace. Guests arrive for the nuptials. There is occasion for the ballet, so essential for a production at the Grand Opéra. _Juliet_ drains the vial, falls as if dead.