to bid her farewell, Romeo asks for it to be opened. He also asks that the Montecchi leave him alone with Giulietta: Romanza: Deh! tu, bell'anima / "Alas! You, fair soul / Rising up to heaven / turn to me, bear me with you". Realising his only course of action will be death, he swallows poison and, lying down beside her, he hears a sigh, then the sound of her voice. Giulietta wakes up to find that Romeo knew nothing of her simulated death and had been unaware of Lorenzo's plan. Urging him to leave with her, Giulietta gets up but Romeo states that he must remain there forever, explaining that he has already acted to end his life. In a final cabaletta, the couple clings to each other. Then he dies and Giulietta, unable to live on without him, falls dead onto his body. The Capuleti and Montecchi rush in to discover the dead lovers, with Capellio demanding who is responsible: "You, ruthless man", they all proclaim. Music Musical borrowings Musicologist Mary Ann Smart has examined the issue of Bellini's "borrowings" and she notes: "Bellini's famously scrupulous attitude to the matching of music and poetry did not prevent him from borrowing from himself almost as frequently as did the notoriously economical Handel and Rossini." Specifically, in regard to I Capuleti, she continues: Bellini lost no time in rescuing much of [Zairas] material, reusing no fewer than eight numbers in his next opera. The music that had failed so completely in Parma was acclaimed in Venice in its new guise, probably more because the Venice audience was inherently better disposed to Bellini's style than because of any aesthetic improvement. But if we can take Bellini at his word, the extensive self-borrowing involved in recasting Zaira as I Capuleti was no lazy response to a looming deadline: although he was indeed forced to compose faster than he liked, he remarked repeatedly on how hard he was working, on one occasion complaining that the act 1 finale of Capuleti—one of the numbers copied almost literally from Zaira had nearly "driven him crazy." The sheer volume of common material in these two operas ensures that dramatic resemblance between the recycled melodies in I Capuleti and their original incarnations in Zaira will be the exception rather than the rule. Smart then provides one specific example whereby word metering (the number of syllables for each