The purpose of this essay is threefold: first, it provides an overview of the complicated print history of Q 126 with a special emphasis on the status accorded to the empty couplet across editions. Second, it discusses recent critical interpretations of the empty couplet and highlights three theories that give a visual reading of the parentheses and the blank space at their capture. Third, it offers a new interpretation of the couplet that takes into account the visual, verbal, and aural modes of the poem.