follow, oh follow! the hounds do cry:  The red sun flames in the eastern sky:      The stag bounds over the hollow. He that lingers in spirit, or loiters in hall, Shall see us no more till the evening fall, And no voice but the echo shall answer his call:      Then follow, oh follow, follow:      Follow, oh follow, follow! 

       During the process of this harmony, the baron’s eyes wandered from his daughter to the friar, and from the friar to his daughter again, with an alternate expression of anger differently modified: when he looked on the friar, it was anger without qualification; when he looked on his daughter       it was still anger, but tempered by an expression of involuntary admiration and pleasure. These rapid fluctuations of the baron’s physiognomy—the habitual, reckless, resolute merriment in the jovial face of the friar,—and the cheerful, elastic spirits that played on the lips and sparkled in the eyes of Matilda,—would have presented a very amusing combination to Sir Ralph, if one of the three images in the group had not absorbed his total attention with feelings of intense delight very nearly allied to pain. The baron’s wrath was somewhat counteracted by the reflection that his daughter’s good spirits seemed to show that they would naturally rise triumphant over all disappointments; and he had had sufficient experience of her humour to know that she might sometimes be led, but never could be driven. Then, too, he was always delighted to hear her sing, though he was not at all pleased in this instance with the subject of her song. Still he would have endured the subject for the sake of the melody of the treble, but his mind was not sufficiently attuned to unison to relish the harmony of the bass. The friar’s accompaniment put him out of all patience, and—“So,” he exclaimed, “this is the way, you teach my daughter to renounce the devil, is it? A hunting friar, truly! Who ever heard before of a hunting friar? A profane, roaring, bawling, bumper-bibbing, neck-breaking, catch-singing friar?”      

       “Under favour, bold baron,” said the friar; but the friar was warm with canary, and in his singing vein; and he could not go on in plain unmusical prose. He therefore sang in a new tune,—     

  Though I be now a grey, grey friar, Yet I was once a hale young knight:  The cry of my dogs was the only choir In which my spirit did take delight. Little I recked of matin bell, But drowned its toll with my clanging horn:  And the 

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