NOTES - Canto First

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NOTES - Canto First

Each canto is introduced by one or more Spenserian stanzas,[FN#5] forming a kind of prelude to it. Those prefixed to the first canto serve as an introduction to the whole poem, which is "inspired by the spirit of the old Scottish minstrelsy."

2. Witch-elm. The broad-leaved or wych elm (Ulmus montana), indigenous to Scotland. Forked branches of the tree were used in the olden time as divining-rods, and riding switches from it were supposed to insure good luck on a journey. In the closing stanzas of the poem (vi. 846) it is called the "wizard elm." Tennyson (In Memoriam, 89) refers to

"Witch-elms that counterchange the floor
Of this flat lawn with dusk and bright."

Saint Fillan was a Scotch abbot of the seventh century who became famous as a saint. He had two springs, which appear to be confounded by some editors of the poem. One was at the eastern end of Loch Earn, where the pretty modern village of St. Fillans now stands, under the shadow of Dun Fillan, or St. Fillan's Hills, six hundred feet high, on the top of which the saint used to say his prayers, as the marks of his knees in the rock still testify to the credulous. The other spring is at another village called St. Fillans, nearly thirty miles to the westward, just outside the limits of our map, on the road to Tyndrum. In this Holy Pool, as it is called, insane folk were dipped with certain ceremonies, and then left bound all night in the open air. If they were found loose the next morning, they were supposed to have been cured. This treatment was practised as late as 1790, according to Pennant, who adds that the patients were generally found in the morning relieved of their troubles--by death. Another writer, in 1843, says that the pool is still visited, not by people of the vicinity, who have no faith in its virtue, but by those from distant places. Scott alludes to this spring in Marmion, i. 29:

"Thence to Saint Fillan's blessed well,
Whose springs can frenzied dreams dispel,
And the crazed brain restore."

3. And down the fitful breeze, etc. The original MS. reads:

"And on the fitful breeze thy numbers flung,
Till envious ivy, with her verdant ring,
Mantled and muffled each melodious string,--
O Wizard Harp, still must thine accents sleep?"

10. Caledon. Caledonia, the Roman name of Scotland.

14. Each according pause. That is, each pause in the singing. In Marmion, ii. 11, according is used of music that fills the intervals of other music:

"Soon as they neared his turrets strong,
The maidens raised Saint Hilda's song,
And with the sea-wave and the wind
Their voices, sweetly shrill, combined,
And made harmonious close;
Then, answering from the sandy shore,
Half-drowned amid the breakers' roar,
According chorus rose."

The MS. reads here:

"At each according pause thou spokest aloud
Thine ardent sympathy sublime and high."

28. The stag at eve had drunk his fill. The metre of the poem proper is iambic, that is, with the accent on the even syllables, and octosyllabic, or eight syllables to the line.

29. Monan's rill. St. Monan was a Scotch martyr of the fourth century. We can find no mention of any rill named for him.

31. Glenartney. A valley to the north-east of Callander, with Benvoirlich (which rises to the height of 3180 feet) on the north, and Uam-Var (see 53 below) on the south, separating it from the valley of the Teith. It takes its name from the Artney, the stream flowing through it.

32. His beacon red. The figure is an appropriate one in describing this region, where fires on the hill-tops were so often used as signals in the olden time. Cf. the Lay, iii. 379:

"And soon a score of fires, I ween,
From height, and hill, and cliff, were seen,
Each with warlike tidings fraught;
Each from each the signal caught," etc.

34. Deep-mouthed. Cf. Shakespeare, 1 Hen. VI. ii. 4. 12: "Between two dogs, which hath the deeper mouth;" and T. of S. ind. 1. 18: "the deep-mouthed brach" (that is, hound).

The MS. reads:

"The bloodhound's notes of heavy bass
Resounded hoarsely up the pass."

35. Resounded ... rocky. The poet often avails himself of "apt alliteration's artful aid," as here, and in the next two lines; most frequently in pairs of words.

38. As Chief, etc. Note here, as often, the simile put BEFORE that which it illustrates,--an effective rhetorical, though not the logical, arrangement.

45. Beamed frontlet. Antlered forehead.

46. Adown. An instance of a purely poetical word, not admissible in prose.

49. Chase. Here put for those engaged in the chase; as in 101 and 171, below. One of its regular meanings is the OBJECT of the chase, or the animal pursued.

53. Uam-Var. "Ua-Var, as the name is pronounced, or more properly Uaigh-mor, is a mountain to the north-east of the village of Callander, in Menteith, deriving its name, which signifies the great den, or cavern, from a sort of retreat among the rocks on the south side, said, by tradition, to have been the abode of a giant. In latter times, it was the refuge of robbers and banditti, who have been only extirpated within these forty or fifty years. Strictly speaking, this stronghold is not a cave, as the name would imply, but a sort of small enclosure, or recess, surrounded with large rocks and open above head. It may have been originally designed as a toil for deer, who might get in from the outside, but would find it difficult to return. This opinion prevails among the old sportsmen and deer-stalkers in the neighborhood" (Scott).

54. Yelled. Note the emphatic force of the inversion, as in 59 below. Cf. 38 above.

Opening. That is, barking on view or scent of the game; a hunting term. Cf. Shakespeare, M. W. iv. 2. 209: "If I bark out thus upon no trail never trust me when I open again."

The description of the echo which follows is very spirited.

66. Cairn. Literally, a heap of stones; here put poetically for the rocky point which the falcon takes as a look-out.

69. Hurricane. A metaphor for the wild rush of the hunt.

71. Linn. Literally, a deep pool; but often = cataract, as in Bracklinn, ii. 270 below (cf. vi. 488), and sometimes = precipice.

73. On the lone wood. Note the musical variation in the measure here; the 1st, 3d, and 4th syllables being accented instead of the 2d and 4th. It is occasionally introduced into iambic metre with admirable effect. Cf. 85 and 97 below.

76. The cavern, etc. See on 53 above.

80. Perforce. A poetical word. See on 46 above.

84. Shrewdly. Severely, keenly; a sense now obsolete. Shrewd originally meant evil, mischievous. Cf. Shakespeare, A. Y. L. v. 4. 179, where it is said that those

"That have endur'd shrewd days and nights with us
Shall share the good of our returned fortune."

In Chaucer (Tale of Melibocus) we find, "The prophete saith: Flee shrewdnesse, and do goodnesse" (referring to Ps. xxxiv. 14).

89. Menteith. The district in the southwestern part of Perthshire, watered by the Teith.

91. Mountain and meadow, etc. See on 35 above. Moss is used in the North-of-England sense of a boggy or peaty district, like the famous Chat Moss between Liverpool and Manchester.

93. Lochard. Loch Ard is a beautiful lakelet, about five miles south of Loch Katrine. On its eastern side is the scene of Helen Macgregor's skirmish with the King's troops in Rob Roy; and near its head, on the northern side, is a waterfall, which is the original of Flora MacIvor's favorite retreat in Waverley. Aberfoyle is a village about a mile and a half to the east of the lake.

95. Loch Achray. A lake between Loch Katrine and Loch Vennachar, lying just beyond the pass of the Trosachs.

97. Benvenue. A mountain, 2386 feet in height, on the southern side of Loch Katrine.

98. With the hope. The MS. has "with the THOUGHT," and "flying HOOF" in the next line.

102. 'Twere. It would be. Cf. Shakespeare, Macb. ii. 2. 73: "To know my deed, 't were best not know myself."

103. Cambusmore. The estate of a family named Buchanan, whom Scott frequently visited in his younger days. It is about two miles from Callander, on the wooded banks of the Keltie, a tributary of the Teith.

105. Benledi. A mountain, 2882 feet high, northwest from Callander. The name is said to mean "Mountain of God."

106. Bochastle's heath. A moor between the east end of Loch Vennachar and Callander. See also on v. 298 below.

107. The flooded Teith. The Teith is formed by streams from Loch Voil and from Loch Katrine (by way of Loch Achray and Loch Vennachar), which unite at Callander. It joins the Forth near Stirling.

111. Vennachar. As the map shows, this "Lake of the Fair Valley" is the most eastern of the three lakes around which the scenery of the poem lies. It is about five miles long and a mile and a half wide.

112. The Brigg of Turk. This brig, or bridge (cf. Burns's poem of The Brigs of Ayr), is over a stream that comes down from Glenfinlas and flows into the one connecting Lochs Achray and Vennachar. According to Graham, it is "the scene of the death of a wild boar famous in Celtic tradition."

114. Unbated. Cf. Shakespeare, M. of V. ii. 6. 11:

"Where is the horse that doth untread again
His tedious measures with the unbated fire
That he did pace them first?"

115. Scourge and steel. Whip and spur. Steel is often used for the sword (as in v. 239 below: "foeman worthy of their steel"), the figure being of the same sort as here--"the material put for the thing made of it." Cf. v. 479 below.

117. Embossed. An old hunting term. George Turbervile, in his Noble Art of Venerie or Hunting (A.D. 1576), says: "When the hart is foamy at the mouth, we say, that he is emboss'd." Cf. Shakespeare, T. of S. ind. 1. 17: "Brach Merriman, the poor cur, is emboss'd;" and A. and C. iv. 13. 3:

"the boar of Thessaly
Was never so emboss'd."

120. Saint Hubert's breed. Scott quotes Turbervile here: "The hounds which we call Saint Hubert's hounds are commonly all blacke, yet neuertheless, the race is so mingled at these days, that we find them of all colours. These are the hounds which the abbots of St. Hubert haue always kept some of their race or kind, in honour or remembrance of the saint, which was a hunter with S. Eustace. Whereupon we may conceiue that (by the grace of God) all good huntsmen shall follow them into paradise."

127. Quarry. The animal hunted; another technical term. Shakespeare uses it in the sense of a heap of slaughtered game; as in Cor. i. 1. 202:

"Would the nobility lay aside their ruth,
And let me use my sword, I'd make a quarry
With thousands of these quarter'd slaves," etc.

Cf. Longfellow, Hiawatha:

"Seldom stoops the soaring vulture
O'er his quarry in the desert."

130. Stock. Tree-stump. Cf. Job, xiv. 8.

133. Turn to bay. Like stand at bay, etc., a term used when the stag, driven to extremity, turns round and faces his pursuers. Cf. Shakespeare, 1. Hen. VI. iv. 2. 52, where it is used figuratively (as in vi. 525 below):

"Turn on the bloody hounds with heads of steel,
And make the cowards stand aloof at bay;"

and T. of S. v. 2. 56: " 'T is thought your deer does hold you at a bay," etc.

137. For the death-wound, etc. Scott has the following note here: "When the stag turned to bay, the ancient hunter had the perilous task of going in upon, and killing or disabling, the desperate animal. At certain times of the year this was held particularly dangerous, a wound received from a stag's horn being then deemed poisonous, and more dangerous than one from the tusks of a boar, as the old rhyme testifies:

'If thou be hurt with hart, it bring thee to thy bier,
But barber's hand will boar's hurt heal, therefore thou
need'st not fear.'

At all times, however, the task was dangerous, and to be adventured upon wisely and warily, either by getting behind the stag while he was gazing on the hounds, or by watching an opportunity to gallop roundly in upon him, and kill him with the sword. See many directions to this purpose in the Booke of Hunting, chap. 41. Wilson, the historian, has recorded a providential escape which befell him in the hazardous sport, while a youth, and follower of the Earl of Essex:

'Sir Peter Lee, of Lime, in Cheshire, invited my lord one summer to hunt the stagg. And having a great stagg in chase, and many gentlemen in the pursuit, the stag took soyle. And divers, whereof I was one, alighted, and stood with swords drawne, to have a cut at him, at his coming out of the water. The staggs there being wonderfully fierce and dangerous, made us youths more eager to be at him. But he escaped us all. And it was my misfortune to be hindered of my coming nere him, the way being sliperie, by a falle; which gave occasion to some, who did not know mee, to speak as if I had falne for feare. Which being told mee, I left the stagg, and followed the gentleman who [first] spake it. But I found him of that cold temper, that it seems his words made an escape from him; as by his denial and repentance it appeared. But this made mee more violent in the pursuit of the stagg, to recover my reputation. And I happened to be the only horseman in, when the dogs sett him up at bay; and approaching near him on horsebacke, he broke through the dogs, and run at mee, and tore my horse's side with his hornes, close by my thigh. Then I quitted my horse, and grew more cunning (for the dogs had sette him up againe), stealing behind him with my sword, and cut his hamstrings; and then got upon his back, and cut his throate; which, as I was doing, the company came in, and blamed my rashness for running such a hazard' (Peck's Desiderata Curiosa, ii. 464)."

138. Whinyard. A short stout sword or knife; the same as the whinger of the Lay of Last Minstrel, v. 7:

"And whingers, now in friendship bare
The social meal to part and share,
Had found a bloody sheath."

142. Turned him. In Elizabethan, and still more in earlier English, personal pronouns were often used reflexively; and this, like many other old constructions, is still used in poetry.

145. Trosachs. "The rough or bristled territory" (Graham); the wild district between Lochs Katrine and Vennachar. The name is now especially applied to the pass between Lochs Katrine and Achray.

147. Close couched. That is, as he lay close couched, or hidden. Such ellipses are common in poetry.

150. Amain. With main, or full force. We still say "with might and main."

151. Chiding. Not a mere figurative use of chide as we now understand it (cf. 287 below), but an example of the old sense of the word as applied to any oft-repeated noise. Shakespeare uses it of the barking of dogs in M. N. D. iv. 1. 120:

"never did I hear
Such gallant chiding;"

of the wind, as in A. Y. L. ii. 1. 7: "And churlish chiding of the winter's wind;" and of the sea, as in 1 Hen. IV. iii. 1. 45:

"the sea
That chides the banks of England;"

and Hen. VIII. iii. 2. 197: "the chiding flood."

163. The banks of Seine. James visited France in 1536, and sued for the hand of Magdalen, daughter of Francis I. He married her the following spring, but she died a few months later. He then married Mary of Guise, whom he had doubtless seen while in France.

166. Woe worth the chase. That is, woe be to it. This worth is from the A. S. weorthan, to become. Cf. Spenser, F. Q. ii. 6. 32:

"Wo worth the man,
That first did teach the cursed steele to bight
In his owne flesh, and make way to the living spright!"

See also Ezek. xxx. 2.

180. And on the hunter, etc. The MS. reads:

"And on the hunter hied his pace,
To meet some comrades of the chase;"

and the 1st ed. retains "pace" and "chase."

184. The western waves, etc. This description of the Trosachs was written amid the scenery it delineates, in the summer of 1809. The Quarterly Review (May, 1810) says of the poet: "He sees everything with a painter's eye. Whatever he represents has a character of individuality, and is drawn with an accuracy and minuteness of discrimination which we are not accustomed to expect from mere verbal description. It is because Mr. Scott usually delineates those objects with which he is perfectly familiar that his touch is so easy, correct, and animated. The rocks, the ravines, and the torrents which he exhibits are not the imperfect sketches of a hurried traveller, but the finished studies of a resident artist." See also on 278 below.

Ruskin (Modern Painters, iii. 278) refers to "the love of color" as a leading element in Scott's love of beauty. He might have quoted the present passage among the illustrations he adds.

195. The native bulwarks, etc. The MS. has "The mimic castles of the pass."

196. The tower, etc. Cf. Gen. xi. 1-9.

198. The rocky. The 1st ed. has "Their rocky," etc.

204. Nor were, etc. The MS. reads: "Nor were these mighty bulwarks bare."

208. Dewdrop sheen. Not "dewdrops sheen," or "dewdrops' sheen," as sometimes printed. Sheen = shining, bright; as in v. 10 below. Cf. Spenser, F. Q. ii. 1. 10: "So faire and sheene;" Id. iii. 4. 51: "in top of heaven sheene," etc. See Wb. The MS. has here: "Bright glistening with the dewdrop sheen."

212. Boon. Bountiful. Cf. Milton, P. L. iv. 242:

"Flowers worthy of Paradise, which not nice art
In beds and curious knots, but nature boon
Pour'd forth profuse on hill, and dale, and plain."

See also P. L. ix. 793: "jocund and boon."

217. Bower. In the old sense of chamber, lodging-place; as in
iv. 413 and vi. 218 below. Cf. Spenser, F. Q. iii. 1. 58:

"Eftesoones long waxen torches weren light
Unto their bowres to guyden every guest."

For clift (= cleft), the reading of the 1st ed. and unquestionably what Scott wrote, every other edition that we have seen reads "cliff."

219. Emblems of punishment and pride. See on iii. 19 below.

222, 223. Note the imperfect rhyme in breath and beneath. Cf. 224-25, 256-57, 435-36, 445-46 below. Such instances are comparatively rare in Scott's poetry. Some rhymes that appear to be imperfect are to be explained by peculiarities of Scottish pronunciation. See on 363 below.

227. Shaltered. The MS. has "scathed;" also "rugged arms athwart the sky" in 229, and "twinkling" for glistening in 231. The 1st ed. has "scattered" for shattered; corrected in the Errata.

231. Streamers. Of ivy or other vines.

238. Affording, etc. The MS. reads:

"Affording scarce such breadth of flood
As served to float the wild-duck's brood."

247. Emerging, etc. The MS. has "Emerging dry-shod from the wood."

254. And now, to issue from the glen, etc. "Until the present road was made through the romantic pass which I have presumptuously attempted to describe in the preceding stanzas, there was no mode of issuing out of the defile called the Trosachs, excepting by a sort of ladder, composed of the branches and roots of trees" (Scott).

263. Loch Katrine. In a note to The Fair Maid of Perth, Scott derives the name from the Catterans, or Highland robbers, that once infested the shores of the lake. Others make it "the Lake of the Battle," in memory of some prehistoric conflict.

267. Livelier. Because in motion; like living gold above.

270. Benvenue. See on 97 above.

271. Down to. Most editions misprint "down on."

272. Confusedly. A trisyllable; as in ii. 161 below, and in the Lay, iii. 337: "And helms and plumes, confusedly tossed."

274. Wildering. Bewildering. Cf. Dryden, Aurungzebe, i. 1: "wilder'd in the way," etc. See also 434 and v. 22 below.

275. His ruined sides, etc. The MS. reads:

"His ruined sides and fragments hoar,
While on the north to middle air."

277. Ben-an. This mountain, 1800 feet high, is north of the Trosachs, separating that pass from Glenfinlas.

278. From the steep, etc. The MS. reads:

"From the high promontory gazed
The stranger, awe-struck and amazed."

The Critical Review (Aug. 1820) remarks of this portion of the poem (184 fol.): "Perhaps the art of landscape-painting in poetry has never been displayed in higher perfection than in these stanzas, to which rigid criticism might possibly object that the picture is somewhat too minute, and that the contemplation of it detains the traveller somewhat too long from the main purpose of his pilgrimage, but which it would be an act of the greatest injustice to break into fragments and present by piecemeal. Not so the magnificent scene which bursts upon the bewildered hunter as he emerges at length from the dell, and commands at one view the beautiful expanse of Loch Katrine."

281. Churchman. In its old sense of one holding high office in the church. Cf. Shakespeare, 2 Hen. VI. i. 3. 72, where Cardinal Beaufort is called "the imperious churchman," etc.

285. Cloister. Monastery; originally, the covered walk around the inner court of the building.

287. Chide. Here, figuratively, in the modern sense. See in 151 above.

290. Should lave. The 1st ed. has "did lave," which is perhaps to be preferred.

294. While the deep peal's. For the measure, see on 73 above.

300. To friendly feast, etc. The MS. has "To hospitable feast and hall."

302. Beshrew. May evil befall (see on shrewdly, 84 above); a mild imprecation, often used playfully and even tenderly. Cf. Shakespeare, 2 Hen. IV. ii. 3. 45:

"Beshrew your heart,
Fair daughter, you do draw my spirits from me
With new lamenting ancient oversights!"

305. Some mossy bank, etc. The MS. reads:

"And hollow trunk of some old tree
My chamber for the night must be."

313. Highland plunderers. "The clans who inhabited the romantic regions in the neighborhood of Loch Katrine were, even until a late period, much addicted to predatory excursions upon their Lowland neighbors" (Scott).

317. Fall the worst. If the worst befall that can happen. Cf. Shakespeare, M. of V. i. 2. 96: "an the worst fall that ever fell, I hope I shall make shift to go without him."

319. But scarce again, etc. The MS. reads:

"The bugle shrill again he wound,
And lo! forth starting at the sound;"

and below:

"A little skiff shot to the bay.
The hunter left his airy stand,
And when the boat had touched the sand,
Concealed he stood amid the brake,
To view this Lady of the Lake."

336. Strain. The 1st ed. has a comma after strain, and a period after art in 340. The ed. of 1821 points as in the text.

342. Naiad. Water nymph.

343. And ne'er did Grecian chisel, etc. The MS. reads:

"A finer form, a fairer face,
Had never marble Nymph or Grace,
That boasts the Grecian chisel's trace;"

and in 359 below, "a stranger tongue."

353. Measured mood. The formal manner required by court etiquette.

360. Dear. This is the reading of the 1st ed. and almost every other that we have seen. We are inclined, however, to believe that Scott wrote "clear." The facsimiles of his handwriting show that his d's and cl's might easily be confounded by a compositor.

363. Snood. The fillet or ribbon with which the Scotch maidens bound their hair. See on iii. 114 below. It is the rich materials of snood, plaid, and brooch that betray her birth.

The rhyme of plaid with maid and betrayed is not imperfect, the Scottish pronunciation of plaid being like our played.

385. One only. For the inversion, cf. Shakespeare, J. C. i. 2. 157: "When there is in it but one only man;" Goldsmith, D. V. 39: "One only master grasps the whole domain," etc.

393. Awhile she paused, etc. The MS. reads:

"A space she paused, no answer came,--
'Alpine, was thine the blast?' the name
Less resolutely uttered fell,
The echoes could not catch the swell.
'Nor foe nor friend,' the stranger said,
Advancing from the hazel shade.
The startled maid, with hasty oar,
Pushed her light shallop from the shore."

and just below:

"So o'er the lake the swan would spring,
Then turn to prune its ruffled wing."

404. Prune. Pick out damaged feathers and arrange the plumage with the bill. Cf. Shakespeare, Cymb. v. 4. 118:

"his royal bird
Prunes the immortal wing," etc.

408. Wont. Are wont, or accustomed; now used only in the participle. The form here is the past tense of the obsolete won, or wone, to dwell. The present is found in Milton, P. L. vii. 457:

"As from his lair the wild beast, where he wons
In forest wild, in thicket, brake, or den."

Cf. Spenser, Virgil's Gnat:

"Of Poets Prince, whether we woon beside
Faire Xanthus sprincled with Chimaeras blood,
Or in the woods of Astery abide;"

and Colin Clouts Come Home Againe:

"I weened sure he was out God alone,
And only woond in fields and forests here."

See also iv. 278 and 298 below.

409. Middle age. As James died at the age of thirty (in 1542), this is not strictly true, but the portrait in other respects is quite accurate. He was fond of going about disguised, and some of his freaks of this kind are pleasantly related in Scott's Tales of a Grandfather. See on vi. 740 below.

425. Slighting, etc. "Treating lightly his need of food and shelter."

432. At length. The 1st ed. has "at last."

433. That Highland halls were, etc. The MS. has "Her father's hall was," etc.

434. Wildered. See on 274 above.

438. A couch. That is, the heather for it. Cf. 666 below.

441. Mere. Lake; as in Windermere, etc.

443. Rood. Cross, or crucifix. By the rood was a common oath; so by the holy rood, as in Shakespeare, Rich. III. iii. 2. 77, iv. 4. 165. Cf. the name of Holyrood Palace in Edinburgh. See ii. 221 below.

451. Romantic. The MS. has "enchanting."

457. Yesternight. We have lost this word, though we retain yesterday. Cf. yester-morn in v. 104 below. As far = as far back as.

460. Was on, etc. The MS. reads: "Is often on the future bent." "If force of evidence could authorize us to believe facts inconsistent with the general laws of nature, enough might be produced in favor of the existence of the second-sight. It is called in Gaelic Taishitaraugh, from Taish, an unreal or shadowy appearance; and those possessed of the faculty are called Taishatrin, which may be aptly translated visionaries. Martin, a steady believer in the second-sight, gives the following account of it:--

'The second-sight is a singular faculty of seeing an otherwise invisible object without any previous means used by the person that uses if for that end: the vision makes such a lively impression upon the seers, that they neither see nor think of any thing else, except the vision, as long as it continues; and then they appear pensive or jovial, according to the object that was represented to them.

'At the sight of a vision, the eyelids of the person are erected, and the eyes continue staring until the object vanish. This is obvious to others who are by when the persons happen to see a vision, and occurred more than once to my own observation, and to others that were with me. ...

'If a woman is seen standing at a man's left hand, it is a presage that she will be his wife, whether they be married to others, or unmarried at the time of the apparition.

'To see a spark of fire fall upon one's arm or breast is a forerunner of a dead child to be seen in the arms of those persons; of which there are several fresh instances. ...

'To see a seat empty at the time of one's sitting in it, is a presage of that person's death soon after' (Martin's Description of the Western Islands, 1716, 8vo, p. 300, et seq.).

"To these particulars innumerable examples might be added, all attested by grave and credible authors. But, in despite of evidence which neither Bacon, Boyle, nor Johnson were able to resist, the Taish, with all its visionary properties, seems to be now universally abandoned to the use of poetry. The exquisitely beautiful poem of Lochiel will at once occur to the recollection of every reader" (Scott).

462. Birchen. Shaded by birches. Cf. Milton's "cedarn alleys" in Comus, 990.

464. Lincoln green. A cloth made in Lincoln, much worn by hunters.

467. Heron. The early eds. have "heron's."

475. Errant-knight. Knight-errant.

476. Sooth. True. We find soothest in Milton, Comus, 823. The noun sooth (truth) is more common, and still survives in soothsayer (teller of hidden truth). Cf. v. 64 below.

478. Emprise. Enterprise. Cf. Spenser, F. Q. ii. 7. 39: "But give me leave to follow my emprise," etc.

485. His noble hand. The MS. has "This gentle hand;" and in the next line, "the oars he drew."

490. Frequent. Often; one of the many instances of the adjective used adverbially in the poem.

492. The rocky isle. It is still known as Ellen's Isle. "It is rather high, and irregularly pyramidal. It is mostly composed of dark-gray rocks, mottled with pale and gray lichens, peeping out here and there amid trees that mantle them,--chiefly light, graceful birches, intermingled with red-berried mountain ashes and a few dark-green, spiry pines. The landing is beneath an aged oak; and, as did the Lady and the Knight, the traveller now ascends 'a clambering unsuspected road,' by rude steps, to the small irregular summit of the island. A more poetic, romantic retreat could hardly be imagined: it is unique. It is completely hidden, not only by the trees, but also by an undergrowth of beautiful and abundant ferns and the loveliest of heather" (Hunnewell's Lands of Scott).

500. Winded. Wound; used for the sake of the measure, as in v. 22 below. We find the participle winded in Much Ado, i. 1. 243; but it is = blown. The verb in that sense is derived from the noun wind (air in motion), and has no connection with wind, to turn. Cf. Wb.

504. Here for retreat, etc. Scott has the following note here: "The Celtic chieftains, whose lives were continually exposed to peril, had usually, in the most retired spot of their domains, some place of retreat for the hour of necessity, which, as circumstances would admit, was a tower, a cavern, or a rustic hut, in a strong and secluded situation. One of these last gave refuge to the unfortunate Charles Edward, in his perilous wanderings after the battle of Culloden.

'It was situated in the face of a very rough, high, and rocky mountain, called Letternilichk, still a part of Benalder, full of great stones and crevices, and some scattered wood interspersed. The habitation called the Cage, in the face of that mountain, was within a small thick bush of wood. There were first some rows of trees laid down, in order to level the floor for a habitation; and as the place was steep, this raised the lower side to an equal height with the other: and these trees, in the way of joists or planks, were levelled with earth and gravel. There were betwixt the trees, growing naturally on their own roots, some stakes fixed in the earth, which, with the trees, were interwoven with ropes, made of heath and birch twigs, up to the top of the Cage, it being of a round or rather oval shape; and the whole thatched and covered over with fog. The whole fabric hung, as it were, by a large tree, which reclined from the one end, all along the roof, to the other, and which gave it the name of the Cage; and by chance there happened to be two stones at a small distance from one another, in the side next the precipice, resembling the pillars of a chimney, where the fire was placed. The smoke had its vent out here, all along the fall of the rock, which was so much of the same color, that one could discover no difference in the clearest day' (Home's History of the Rebellion, Lond. 1802, 4to, p. 381)."

525. Idoean vine. Some have taken this to refer to the "red whortleberry," the botanical name of which is Vaccinium vitis Idoea; but as that is not a climber, it is more probably that the common vine is here meant. Idoean is from Ida, a mountain near ancient Troy (there was another in Crete), famous for its vines.

526. Clematis. The Climatis vitalba, one of the popular English names of which is virgin-bower.

528. And every favored plant could bear. That is, which could endure. This ellipsis of the relative was very common in Elizabethan English. Cf. Shakespeare, M. for M. ii. 2. 23: "I have a brother is condemned to die;" Rich. II. ii. 2. 128: "The hate of those love not the king," etc. See also John, iii. 11, etc.

532. On heaven and on thy lady call. This is said gayly, or sportively, as keeping up the idea of a knight-errant. Cf. 475 above.

542. Careless. See on 490 above.

546. Target. Buckler; the targe of iii. 445, etc. See Scott's note on v. 380 below.

548. Store. Stored, laid up; an obsolete adjective. Cf. iii. 3 below, and see also on vi. 124.

551. And there the wild-cat's, etc. The MS. reads:

"There hung the wild-cat's brindled hide,
Above the elk's branched brow and skull,
And frontlet of the forest bull."

559. Garnish forth. Cf. furnish forth in 442 above.

566. Brook. Bear, endure; now seldom used except with reference to what is endured against one's will or inclination. It seems to be a favorite word with Scott.

573. Ferragus or Ascabart. "These two sons of Anak flourished in romantic fable. The first is well known to the admirers of Ariosto by the name of Ferrau. He was an antagonist of Orlando, and was at length slain by him in single combat. ... Ascapart, or Ascabart, makes a very material figure in the History of Bevis of Hampton, by whom he was conquered. His effigies may be seen guarding one side of the gate at Southampton, while the other is occupied by Bevis himself" (Scott).

580. To whom, though more than kindred knew. The MS. reads:

"To whom, though more remote her claim,
Young Ellen gave a mother's name."

She was the maternal aunt of Ellen, but was loved as a mother by her, or more than (such) kindred (usually) knew (in way of affection).

585. Though all unasked, etc. "The Highlanders, who carried hospitality to a punctilious excess, are said to have considered it as churlish to ask a stranger his name or lineage before he had taken refreshment. Feuds were so frequent among them, that a contrary rule would in many cases have produced the discovery of some circumstance which might have excluded the guest from the benefit of the assistance he stood in need of" (Scott).

591. Snowdoun. An old name of Stirling Castle. See vi. 789 below.

592. Lord of a barren heritage. "By the misfortunes of the earlier Jameses, and the internal feuds of the Scottish chiefs, the kingly power had become little more than a name. Each chief was a petty king in his own district, and gave just so much obedience to the king's authority as suited his convenience" (Taylor).

596. Wot. Knows; the present of the obsolete wit (the infinitive to wit is still use in legal forms), not of weet, as generally stated. See Matzner, Eng. Gram. i. 382. Cf. Shakespeare, Rich. III. ii. 3. 18: "No, no, good friends, God wot." He also uses wots (as in Hen. V. iv. 1. 299) and a participle wotting (in W. T. iii. 2. 77).

602. Require. Request, ask; as in Elizanethan English. Cf. Shakespeare, Hen. VIII. ii. 4. 144: "In humblest manner I require your highness," etc.

603. The elder lady's mien. The MS. has "the mother's easy mien."

606. Ellen, though more, etc. The MS. reads:

"Ellen, though more her looks betrayed
The simple heart of mountain maid,
In speech and gesture, form and grace,
Showed she was come of gentle race;
'T was strange, in birth so rude, to find
Such face, such manners, and such mind.
Each anxious hint the stranger gave,
The mother heard with silence grave."

616. Weird women we, etc. See on 35 above. Weird here = skilled in witchcraft; like the "weird sisters" of Macbeth. Down = hill (the Gaelic dun).

622. A harp unseen. Scott has the following note here: "'"They [the Highlanders] delight much in musicke, but chiefly in harps and clairschoes of their own fashion. The strings of the clairschoes are made of brasse wire, and the strings of the harps of sinews; which strings they strike either with their nayles, growing long, or else with an instrument appointed for that use. They take great pleasure to decke their harps and clairschoes with silver and precious stones; the poore ones that cannot attayne hereunto, decke them with christall. They sing verses prettily compound, contayning (for the most part) prayses of valiant men. There is not almost any other argument, whereof their rhymes intreat. They speak the ancient French language, altered a little."[FN#6]

'The harp and chairschoes are now only heard of in the Highlands in ancient song. At what period these instruments ceased to be used, is not on record; and tradition is silent on this head. But, as Irish harpers occasionally visited the Highlands and Western Isles till lately, the harp might have been extant so late as the middle of the present century. Thus far we know, that from remote times down to the present, harpers were received as welcome guests, particularly in the Highlands of Scotland; and so late as the latter end of the sixteenth century, as appears by the above quotations, the harp was in common use among the natives of the Western Isles. How it happened that the noisy and inharmonious bagpipe banished the soft and expressive harp, we cannot say; but certain it is, that the bagpipe is now the only instrument that obtains universally in the Highland districts' (Campbell's Journey through North Britain. London, 1808, 4to, i. 175).

"Mr. Gunn, of Edinburgh, has lately published a curious Essay upon the Harp and Harp Music of the Highlands of Scotland. That the instrument was once in common use there, is most certain. Cleland numbers an acquaintance with it among the few accomplishments which his satire allows to the Highlanders:--

'In nothing they're accounted sharp,
Except in bagpipe or in harm.'"

624. Soldier, rest! etc. The metre of this song is trochaic; that is, the accents fall regularly on the odd syllables.

631. In slumber dewing. That is, bedewing. For the metaphor, cf. Shakespeare, Rich. III. iv. 1. 84: "the golden dew of sleep;" and J. C. ii. 1. 230: "the honey-heavy dew of slumber."

635. Morn of toil, etc. The MS. has "noon of hunger, night of waking;" and in the next line, "rouse" for reach.

638. Pibroch. "A Highland air, suited to the particular passion which the musician would either excite or assuage; generally applied to those airs that are played on the bagpipe before the Highlanders when they go out to battle" (Jamieson). Here it is put for the bagpipe itself. See also on ii. 363 below.

642. And the bittern sound his drum. Goldsmith (D. V. 44) calls the bird "the hollow-sounding bittern;" and in his Animated Nature, he says that of all the notes of waterfowl "there is none so dismally hollow as the booming of the bittern."

648. She paused, etc. The MS. has "She paused--but waked again the lay."

655. The MS. reads: "Slumber sweet our spells shall deal ye;" and in 657:

"Let our slumbrous spells avail ye
beguile ye."

657. Reveille. The call to rouse troops or huntsmen in the morning.

669. Forest sports. The MS. has "mountain chase."

672. Not Ellens' spell. That is, not even Ellen's spell. On the passage, cf. Rokeby, i. 2:

"Sleep came at length, but with a train
Of feelings true and fancies vain,
Mingling, in wild disorder cast,
The expected future with the past."

693. Or is it all a vision now? Lockhart quotes here Thomson's Castle of Indolence:

"Ye guardian spirits, to whom man is dear,
From these foul demons shield the midnight gloom:
Angels of fancy and love, be near.
And o'er the blank of sleep diffuse a bloom:
Evoke the sacred shades of Greece and Rome,
And let them virtue with a look impart;
But chief, awhile, O! lend us from the tomb
Those long-lost friends for whom in love we smart,
and fill with pious awe and joy-mixt woe the heart.

"Or are you sportive?--bid the morn of youth
Rise to new light, and beam afresh the days
Of innocence, simplicity, and truth;
To cares estranged, and manhood's thorny ways.
What transport, to retrace our boyish plays,
Our easy bliss, when each thing joy supplied;
The woods, the mountains, and the warbling maze
Of the wild books!"

The Critical Review says of the following stanza (xxxiv): "Such a strange and romantic dream as may be naturally expected to flow from the extraordinary events of the day. It might, perhaps, be quoted as one of Mr. Scott's most successful efforts in descriptive poetry. Some few lines of it are indeed unrivalled for delicacy and melancholy tenderness."

704. Grisly. Grim, horrible; an obsolete word, much used in old poetry. Cf. Spenser, F. Q. i. 5. 30: "her darke griesly looke;" Shakespeare, 1 Hen. VI. i. 4. 47: "My grisly countenance made others fly," etc. See also iv. 322, etc. below.

723. Played, etc. The MS. reads:

"Played on/ the bosoms of the lake,
/ Lock Katrine's still expanse;
The birch, the wild rose, and the broom
Wasted around their rich perfume ...
The birch-trees wept in balmy dew;
The aspen slept on Benvenue;
Wild were the heart whose passions' power
Defied the influence of the hour."

724. Passion's. The reading of the 1st ed. and that of 1821; some recent eds. have "passions'."

738. Orisons. The 1st ed. has "orison" both here and in 740 (the ed. of 1821 only in the latter); but the word is almost invariably plural, both in poetry and prose--always in Shakespeare and Milton.

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