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That, old mare, at sight whereof your wise eyes widen till they are ready to burst, and your ears are first shot forward towards your nose, and then laid back with vicious intent. Stand still, old woman! Do you think still, after fifteen winters, that you can catch a fox?

A fox it is indeed; a great dog-fox, as red as the fir-stems between which he glides. And yet his legs are black with fresh peat-stains. He is a hunted fox: but he has not been up long.

The mare stands like a statue: but I can feel her trembling between my knees. Positively he does not see us. He sits down in the middle of a ride, turns his great ears right and left, and then scratches one of them with his hind foot, seemingly to make it hear the better. Now he is up again and on.

Beneath yon firs, some hundred yards away, standeth, or rather lieth, for it is on dead flat ground, the famous castle of Malepartus, which beheld the base murder of Lampe the hare, and many a seely soul beside. I know it well; a patch of sand-heaps, mingled with great holes, amid the twining fir-roots; ancient home of the last of the wild beasts. And thither, unto Malepartus safe and strong, trots Reinecke, where he hopes to be snug among the labyrinthine windings, and innumerable starting-holes, as the old apologue has it, of his ballium, covert-way, and donjon keep. Full blown in self- satisfaction he trots, lifting his toes delicately, and carrying his brush aloft, as full of cunning and conceit as that world-famous ancestor of his, whose deeds of unchivalry were the delight, if not the model, of knight and kaiser, lady and burgher, in the Middle Age.

Suddenly he halts at the great gate of Malepartus; examines it with his nose; goes on to a postern; examines that also, and then another, and another; while I perceive afar, projecting from every cave’s mouth, the red and green end of a new fir-faggot. Ah, Reinecke! fallen is thy conceit, and fallen thy tail therewith. Thou hast worse foes to deal with than Bruin the bear, or Isegrim the wolf, or any foolish brute whom thy great ancestor outwitted. Man the many- counselled has been beforehand with thee; and the earths are stopped.

One moment he sits down to meditate, and scratches those trusty counsellors, his ears, as if he would tear them off, ‘revolving swift thoughts in a crafty mind.’

He has settled it now. He is up and off–and at what a pace! Out of the way, Fauns and Hamadryads, if any be left in the forest. What a pace! And with what a grace beside!

Oh Reinecke, beautiful thou art, of a surety, in spite of thy great naughtiness. Art thou some fallen spirit, doomed to be hunted for thy sins in this life, and in some future life rewarded for thy swiftness, and grace, and cunning, by being made a very messenger of the immortals? Who knows? Not I.

I am rising fast to Pistol’s vein. Shall I ejaculate? Shall I notify? Shall I waken the echoes? Shall I break the grand silence by that scream which the vulgar view-halloo call?

It is needless; for louder and louder every moment swells up a sound which makes my heart leap into my mouth, and my mare into the air.

Music? Well-beloved soul of Hullah, would that thou wert here this day, and not in St. Martin’s Hall, to hear that chorus, as it pours round the fir-stems, rings against the roof above, shatters up into a hundred echoes, till the air is live with sound! You love madrigals, and whatever Weekes, or Wilbye, or Orlando Gibbons sang of old. So do I. Theirs is music fit for men: worthy of the age of heroes, of Drake and Raleigh, Spenser and Shakspeare: but oh that you could hear this madrigal! If you must have ‘four parts,’ then there they are. Deeped-mouthed bass, rolling along the ground; rich joyful tenor; wild wistful alto; and leaping up here and there above the throng of sounds, delicate treble shrieks and trills of trembling joy. I know not whether you can fit it into your laws of music, any more than you can the song of that Ariel sprite who dwells in the Eolian harp, or the roar of the waves on the rock, or