“Joy to the fair!⁠—my name unknown, Each deed, and all its praise thine own; Then, oh! unbar this churlish gate, The night-dew falls, the hour is late. Inured to Syria ’s glowing breath, I feel the north breeze chill as death; Let grateful love quell maiden shame, And grant him bliss who brings thee fame.”

During this performance, the hermit demeaned himself much like a first-rate critic of the present day at a new opera. He reclined back upon his seat, with his eyes half shut; now, folding his hands and twisting his thumbs, he seemed absorbed in attention, and anon, balancing his expanded palms, he gently flourished them in time to the music. At one or two favourite cadences, he threw in a little assistance of his own, where the knight’s voice seemed unable to carry the air so high as his worshipful taste approved. When the song was ended, the anchorite emphatically declared it a good one, and well sung.

“And yet,” said he, “I think my Saxon countrymen had herded long enough with the Normans, to fall into the tone of their melancholy ditties. What took the honest knight from home? or what could he expect but to find his mistress agreeably engaged with a rival on his return, and his serenade, as they call it, as little regarded as the caterwauling of a cat in the gutter? Nevertheless, Sir Knight, I drink this cup to thee, to the success of all true lovers⁠—I fear you are none,” he added, on observing that the knight (whose brain began to be heated with these repeated draughts) qualified his flagon from the water pitcher.

“Why,” said the knight, “did you not tell me that this water was from the well of your blessed patron, St. Dunstan?”