One—2, THREE—4; ONE—2—3—4,
and-ONE—2, THREE—4; ONE—2—3—4.
One, two-and three, four; One, two THREE—4.
Five hundred flawed adolescent voices took it up. For good example’s sake, Gumbril opened and closed his mouth; noiselessly, however. It was only at the third verse that he gave rein to his uncertain baritone. He particularly liked the third verse; it marked, in his opinion, the Headmaster’s highest poetical achievement.
(f) For slack hands and (dim.) idle minds
(mf) Mischief still the Tempter finds.
(ff) Keep him captive in his lair.
At this point Dr. Jolly enriched his tune with a thick accompaniment in the lower registers, artfully designed to symbolize the depth, the gloom and general repulsiveness of the Tempter’s home.
(ff) Keep him captive in his lair.
(f) Work will bind him. (dim.) Work is (pp) prayer.