112.  Bower.  The word meant a chamber (see on i. 217 above), and was often used of the ladies’ apartments in a house.  In hall and bower = among men and women.  The words are often thus associated.  Cf.  Spenser, Astrophel, 28:  “Merily masking both in bowre and hall,” etc.

115.  Arose.  The 1st ed. misprints “Across;” not noted in the Errata.

126.  And the proud march.  See on i. 73 above.

131.  Saint Modan.  A Scotch abbot of the 7th century.  Scott says here:  “I am not prepared to show that Saint Modan was a performer on the harp.  It was, however, no unsaintly accomplishment; for Saint Dunstan certainly did play upon that instrument, which retaining, as was natural, a portion of the sanctity attached to its master’s character, announced future events by its spontaneous sound.  ’But labouring once in these mechanic arts for a devout matrone that had sett him on work, his violl, that hung by him on the wall, of its own accord, without anie man’s helpe, distinctly sounded this anthime:  Gaudent in coelis animae sanctorum qui Christi vestigia sunt secuti; et quia pro eius amore sanguinem suum fuderunt, ideo cum Christo gaudent aeternum.  Whereat all the companie being much astonished, turned their eyes from beholding him working, to looke on that strange accident. ...  Not long after, manie of the court that hitherunto had born a kind of fayned friendship towards him, began now greatly to envie at his progresse and rising in goodness, using manie crooked, backbiting meanes to diffame his vertues with the black markes of hypocrisie.  And the better to authorise their calumnie, they brought in this that happened in the violl, affirming it to have been done by art magick.  What more? this wicked rumour encreased, dayly, till the king and others of the nobilitie taking hould thereof, Dunstan grew odious in their sight.  Therefore he resolued to leaue the court, and goe to Elphegus, surnamed the Bauld, then bishop of Winchester, who was his cozen.  Which his enemies understanding, they layd wayte for him in the way, and hauing throwne him off his horse, beate him, and dragged him in the durt in the most miserable manner, meaning to have slaine him, had not a companie of mastiue dogges, that came unlookt uppon them, defended and redeemed him from their crueltie.  When with sorrow he was ashamed to see dogges more humane than they.  And giuing thankes to Almightie God, he sensibly againe perceaued that the tunes of his violl had giuen him a warning of future accidents’ (Flower of the Lives of the most renowned Sainets of England, Scotland, and Ireland, by the R. Father Hierome Porter.  Doway, 1632 4to. tome i. p. 438).

“The same supernatural circumstance is alluded to by the anonymous author of Grim, the Collier of Croydon: