351.  Chanters.  The pipes of the bagpipes, to which long ribbons were attached.

357.  The sounds.  Misprinted “the sound” in the ed. of 1821, and all the more recent eds. that we have seen.  Cf. 363 below.

363.  Those thrilling sounds, etc.  Scott says here:  “The connoisseurs in pipe-music affect to discover in a well-composed pibroch, the imitative sounds of march, conflict, flight, pursuit, and all the ‘current of a heady fight.’  To this opinion Dr. Beattie has given his suffrage, in that following elegant passage:—­’A pibroch is a species of tune, peculiar, I think, to the Highlands and Western Isles of Scotland.  It is performed on a bagpipe, and differs totally from all other music.  Its rhythm is so irregular, and its notes, especially in the quick movement, so mixed and huddled together, that a stranger finds it impossible to reconcile his ear to it, so as to perceive its modulation.  Some of these pibrochs, being intended to represent a battle, begin with a grave motion, resembling a march; then gradually quicken into the onset; run off with noisy confusion, and turbulent rapidity, to imitate the conflict and pursuit; then swell into a few flourishes of triumphant joy; and perhaps close with the wild and slow wailings of a funeral procession’ (Essay on Laughter and Ludicrious Composition, chap. iii. note).”

367.  Hurrying.  Referring to their, or rather to the them implied in that word.

392.  The burden bore.  That is, sustained the burden, or chorus, of the song.  Cf.  Shakespeare, Temp. i. 2. 381:  “And, sweet sprites, the burden bear.”

399.  Hail to the Chief, etc.  The metre of the song is dactylic; the accents being on the 1st, 4th, 7th, and 10th syllables.  It is little used in English.  Tennyson’s Charge of the Light Brigade and Longfellow’s Skeleton in Armor are familiar examples of it.

405.  Bourgeon.  Bud.  Cf.  Fairfax, Tasso, vii. 76:  When first on trees bourgeon the blossoms soft;” and Tennyson, In Memoriam, 115: 

    “Now burgeons every maze of quick
     About the flowering squares,” etc.

408.  Roderigh Vich Alpine dhu.  “Besides his ordinary name and surname, which were chiefly used in the intercourse with the Lowlands, every Highland chief had an epithet expressive of his patriarchal dignity as head of the clan, and which was common to all his predecessors and successors, as Pharaoh to the kings of Egypt, or Arsaces to those of Parthia.  This name was usually a patronymic, expressive of his descent from the founder of the family.  Thus the Duke of Argyll is called MacCallum More, or the son of Colin the Great.  Sometimes, however, it is derived from armorial distinctions, or the memory of some great feat; thus Lord Seaforth, as chief of the Mackenzies, or Clan-Kennet, bears the epithet of Caber-fae, or Buck’s Head, as representative of Colin Fitzgerald, founder of the family, who saved