This chapter focuses on music and sexual ravishment in Shirley’s The Bird in a Cage and The Lady of Pleasure and Jonson’s The New Inn and investigates music’s ability to captivate not only the onstage audience but also the offstage theatre audience. The chapter discusses the iconic image of the woman playing the lute in Shirley’s plays and addresses some of the conflicting beliefs about female musical performance in the period. It argues that by presenting different characters with different morals in his plays, Shirley reinforces the reality that not all women who performed in public were after sexual gratification, but, at the same time, invites both the on- and offstage audiences to view these characters sexually. The chapter then turns to the two songs in The New Inn and demonstrates how music was used in the period to objectify female characters on the stage. Furthermore, it argues that the play’s final song uses elements of the form of the song to embody an ideal of completeness about romantic relationships.