[2] This tune requires O to be added at the end of each of the long lines, but in reading the song the O is better omitted.

[3] Forbes's "Life of Beattie," vol. i. p. 375.

[4] Of the "Flowers of the Forest," two other versions appear in the Collections. That version beginning, "I've heard the lilting at our yow-milking," is the composition of Miss Jane Elliot, the daughter of Sir Gilbert Elliot of Minto, Lord Justice-Clerk, who died in 1766. She composed the song about the middle of the century, in imitation of an old version to the same tune. The other version, which is the most popular of the three, with the opening line, "I 've seen the smiling of fortune beguiling," was also the composition of a lady, Miss Alison Rutherford; by marriage, Mrs Cockburn, wife of Mr Patrick Cockburn, advocate. Mrs Cockburn was a person of highly superior accomplishments. She associated with her learned contemporaries, by whom she was much esteemed, and died at Edinburgh in 1794, at an advanced age. "The forest" mentioned in the song comprehended the county of Selkirk, with portions of Peeblesshire and Lanarkshire. This was a hunting-forest of the Scottish kings.

[5] These lines were addressed by Mrs Hunter to her daughter, on the occasion of her marriage.

[6] These verses form a modernised version of the old and popular song, "Will ye gae to the ewe-bughts, Marion?" The air is extremely beautiful.

[7] The name of this old melody is, "The Bridegroom greets when the Sun gangs down."—See Stenhouse's Notes to Johnson's "Musical Museum," vol. iv. p. 280; the "Lives of the Lindsays," by Lord Lindsay, vol. ii., pp. 314, 332, 392. Lond. 1849, 3 vols., 8vo.

[8] "She was entertaining a large party of distinguished guests at dinner, when a hitch occurred in the kitchen. The old servant came up behind her and whispered, 'My lady, you must tell another story—the second course won't be ready for five minutes!'"—Letter of General Lindsay to Lord Lindsay, "Lives of the Lindsays," vol. ii. p. 387.

[9] The Rev. William Leeves, of Wrington, to whose tune the ballad is now sung.—See an account of Mr Leeves' claims to the authorship of the tune, &c., in Johnson's "Musical Museum;" Stenhouse's Notes, vol. iv. p. 231.

[10] We quote from an autobiography of the poet, the original of which is in the possession of one of his surviving friends. We have likewise to acknowledge our obligations to Dr Muschet, of Birkhill, near Stirling, for communicating some interesting letters of Macneill, addressed to his late father. The late Mr John Campbell, Writer to the Signet, had undertaken to supply a memoir for this work, partly from his own recollections of his deceased friend; but, before he could fulfil his promise, he was called to rest with his fathers. We have, however, taken advantage of his reminiscences of the bard, orally communicated to us. An intelligent abridgment of the autobiography appears in Blackwood's Magazine, vol. iv. p. 273. See likewise the EncyclopÆdia Britannica, vol. xv. p. 307.

[11] "The Songs of Scotland, Ancient and Modern," by Allan Cunningham, vol. i. p. 242. London, 1825; 4 vols. 12mo.

[12] This song was first published, in May 1791, in The Bee, an Edinburgh periodical, conducted by Dr James Anderson.

[13] This beautiful ballad was first printed, in 1791, in The Bee. It is adapted to an old and sweet air, to which, however, very puerile words were attached.

[14] Mr Graham, of Gartmore, an intimate friend of Hector Macneill, composed a song, having a similar burden, the chorus proceeding thus:—

This was published by Sir Walter Scott, in the "Minstrelsy of the Scottish Border," as a production of the reign of Charles I.

[15] The first stanza of this song, along with a second, which is unsuitable for insertion, has been ascribed, on the authority of Burns, to the Rev. John Clunie, minister of Borthwick, in Mid-Lothian, who died in 1819, aged sixty-two. Ritson, however, by prefixing the letters "J. D." to the original stanza would seem to point to a different author.

[16] This fine ballad was written by Macneill, to commemorate the death of his friend, Captain Stewart, a brave officer, betrothed to a young lady in Athole, who, in 1777, fell at the battle of Saratoga, in America. The words, which are adapted to an old Gaelic air, appear with music in Smith's "Scottish Minstrel," vol. iii. p. 28. The ballad, in the form given above, has been improved in several of the stanzas by the author, on his original version, published in Johnson's "Museum." See the "Museum," vol. iv. p. 238.

[17] Mora is the name of a small valley in Athole, so designated by the two lovers.

[18] This song was originally printed on a single sheet, by N. Stewart and Co., Edinburgh, in 1794, as the lament of a lady on the death of an officer. It does not appear in Macneill's "Poetical Works," but he asserted to Mr Stenhouse his claims to the authorship.—Johnson's "Museum," vol. iv. p. 323.

[19] The last verse of this song was added by John Hamilton. The song, on account of this addition, was not included by Macneill in the collected edition of his "Poetical Works." One of Miss Blamire's songs has the same opening line; and it has been conjectured by Mr Maxwell, the editor of her poems, that Macneill had been indebted to her song for suggesting his verses.

[20] From Albyn's "Anthology," vol. i. p. 42. Edinburgh, 1816, 4to.

[21] See Note to "Lady of the Lake."

[22] See the EncyclopÆdia Britannica, vol. xxi. p. 170.

[23] This song originally consisted of two stanzas, the third stanza being subsequently added by the author. It is adapted to a beautiful old air, "Logan Water," incongruously connected with some indecorous stanzas. Burns deemed Mayne's version an elder production of the Scottish muse, and attempted to modernise the song, but his edition is decidedly inferior. Other four stanzas have been added, by some anonymous versifier, to Mayne's verses, which first appeared in Duncan's "EncyclopÆdia of Scottish, English, and Irish Songs," printed at Glasgow in 1836, 2 vols. 12mo. In those stanzas the lover is brought back to Logan braes, and consummates his union with his weeping shepherdess. The stream of Logan takes its rise among the hills separating the parishes of Lesmahago and Muirkirk, and, after a flow of eight miles, deposits its waters into the Nethan river.

[24] During the reign of Mary, Queen of Scots, a young lady, of great personal attractions and numerous accomplishments, named Helen Irving, daughter of Irving of Kirkconnel, in Annandale, was betrothed to Adam Fleming de Kirkpatrick, a young gentleman of fortune in the neighbourhood. Walking with her lover on the banks of the Kirtle, she was slain by a shot which had been aimed at Fleming by a disappointed rival. The melancholy history has been made the theme of three different ballads, two of these being old. The present ballad, by Mr Mayne, was inserted by Sir Walter Scott in the Edinburgh Annual Register of 1815.

[25] Burns composed two verses to the same tune, which is very old. It was a favourite of Queen Mary, the consort of William III. In his "Beggar's Opera," Gay has adopted the tune for one of his songs. It was published, in 1652, by John Hilton, as the third voice to what is called a "Northern Catch" for three voices, beginning—"I'se gae wi' thee, my sweet Peggy."

[26] These stanzas are founded on some lines of old doggerel, beginning—

[27] These verses were written as a continuation to Burns's "Of a' the airts the wind can blaw." Other two stanzas were added to the same song by W. Reid.—See postea.

[28] Literary Gazette, March 1851.

[29] This song was written for Thomson's "Melodies." "Todlin' Hame," the air to which it is adapted, appears in Ramsay's "Tea-Table Miscellany" as an old song. The words begin—"When I hae a saxpence under my thum." Burns remarks that "it is perhaps one of the first bottle-songs that ever was composed."

[30] This song is a new version of "The Blythesome Bridal," beginning, "Fy, let us a' to the bridal," which first appeared in Watson's Collection, in 1706, and of which the authorship was generally assigned to Francis Semple of Beltrees, in Renfrewshire, who lived in the middle of the seventeenth century, though more recently it has been attributed to Sir William Scott of Thirlestane, in Selkirkshire, who flourished in the beginning of last century. The words of the original song are coarse, but humorous.

[31] The style of this song and the chorus are borrowed from "The Drucken Wife o' Gallowa'," a song which first appeared in the "Charmer," a collection of songs, published at Edinburgh in 1751, but the authorship of which is unknown.

[32] "The Wee Pickle Tow" is an old air, to which the words of this song were written.

[33] This song was contributed by Miss Baillie to "The Harp of Caledonia."

[34] Of the song, "Woo'd, and married, and a'," there is another version, published in Johnson's "Musical Museum," vol. i. p. 10, which was long popular among the ballad-singers. This was composed by Alexander Ross, schoolmaster of Lochlee, author of "Helenore, or the Fortunate Shepherdess." A song, having a similar commencement, had previously been current on the Border.

[35] The two first stanzas of this song are the composition of the gifted and unfortunate Robert Fergusson. It is founded on an older ditty, beginning, "I'll rowe thee o'er the lea-rig." See Johnson's "Musical Museum," vol. iv. p. 53.

[36] These stanzas are in continuation of Burns's song, "John Anderson, my jo." Five other stanzas have been added to the continuation by some unknown hand, which will be found in the "Book of Scottish Song," p. 54. Glasgow, 1853.

[37] See postea, in this volume, under article "Lady Nairn."

[38] These two stanzas were written as a continuation of Burns's popular song, "Of a' the airts the wind can blaw." Two other stanzas were added by John Hamilton. See ante, p. 124.

[39] The four first lines of the last stanza are by Burns.

[40] These tender and beautiful verses are transcribed from Johnson's "Musical Museum," in a note to which they were first published by the editor, Mr David Laing. He remarks that he "has reason to believe" that they are from the pen of Mrs Stewart. (See Johnson's "Musical Museum," vol. iv. p. 366, new edition. Edinburgh, 1853.)

[41] The "Songs of Scotland," by Allan Cunningham, vol. i. p. 247.

[42] The most complete collection of his poems appeared in a volume published under the following title:—"The Poetical Works of Alexander Wilson; also, his Miscellaneous Prose Writings, Journals, Letters, Essays, &c., now first Collected: Illustrated by Critical and Explanatory Notes, with an extended Memoir of his Life and Writings, and a Glossary." Belfast, 1844, 18vo. A portrait of the author is prefixed.

[43] We have ventured to omit three verses, and to alter slightly the last line of this song. It was originally published at Paisley, in 1790, to the tune of "One bottle more." Auchtertool is a small hamlet in Fifeshire, about five miles west of the town of Kirkcaldy. The inhabitants, whatever may have been their failings at the period when Wilson in vain solicited shelter in the hamlet, are certainly no longer entitled to bear the reproach of lacking in hospitality. We rejoice in the opportunity thus afforded of testifying as to the disinterested hospitality and kindness which we have experienced in that neighbourhood.

[44] Robertson of Struan, cousin-german of Lady Nairn's mother, and a conspicuous Jacobite chief, composed many fugitive verses for the amusement of his friends; and a collection of them, said to have been surreptitiously obtained from a servant, was published, without a date, under the following title:—"Poems on various Subjects and Occasions, by the Honourable Alexander Robertson of Struan, Esq.—mostly taken from his own original Manuscripts." Edinburgh, 8vo.

[45] Writing to one of her correspondents, in November 1840, Lady Nairn thus remarks—"I sometimes say to myself, 'This is no me,' so greatly have my feelings and trains of thought changed since 'auld lang syne;' and, though I am made to know assuredly that all is well, I scarcely dare to allow my mind to settle on the past."

[46] A daughter of Baron Hume was one of the ladies who induced Lady Nairn to become a contributor to "The Scottish Minstrel." Many of the songs were sent to the Editor through the medium of Miss Hume. She thus expresses herself in a letter to a friend:—"My father's admiration of 'The Land o' the Leal' was such, that he said no woman but Miss Ferrier was capable of writing it. And when I used to shew him song after song in MS., when I was receiving the anonymous verses for the music, and ask his criticism, he said—'Your unknown poetess has only one, or rather two, letters out of taste, viz., choosing "B. B." for her signature.'"

[47] This seems to have been the author's first composition in Scottish verse. See the Memoir.

[48] This song has acquired an extensive popularity, for which it is much indebted, in addition to its intrinsic merits, to the musical powers of the late John Wilson, the eminent vocalist, whose premature death is a source of regret to all lovers of Scottish melody. Mr Wilson sung this song in every principal town of the United Kingdom, and always with effect.

[49] This exquisitely tender and beautiful lay was composed by Lady Nairn, for two married relatives of her own, Mr and Mrs C——, who had sustained bereavement in the death of a child. Such is the account of its origin which we have received from Lady Nairn's relatives.

[50] This humorous and highly popular song was composed by Lady Nairn towards the close of the last century, in place of the older words connected with the air, "When she came ben, she bobbit." The older version, which is entitled "Cockpen," is exceptional on the score of refinement, but was formerly sung on account of the excellence of the air. It is generally believed to be a composition of the reign of Charles II.; and the hero of the piece, "the Laird of Cockpen," is said to have been the companion in arms and attached friend of his sovereign. Of this personage an anecdote is recorded in some of the Collections. Having been engaged with his countrymen at the battle of Worcester, in the cause of Charles, he accompanied the unfortunate monarch to Holland, and, forming one of the little court at the Hague, amused his royal master by his humour, and especially by his skill in Scottish music. In playing the tune, "Brose and Butter," he particularly excelled; it became the favourite of the exiled monarch, and Cockpen had pleasure in gratifying the royal wish, that he might be lulled to sleep at night, and awakened in the morning by this enchanting air. At the Restoration, Cockpen found that his estate had been confiscated for his attachment to the king, and had the deep mortification to discover that he had suffered on behalf of an ungrateful prince, who gave no response to his many petitions and entreaties for the restoration of his possessions. Visiting London, he was even denied an audience; but he still entertained a hope that, by a personal conference with the king, he might attain his object. To accomplish this design, he had recourse to the following artifice:—He formed acquaintance with the organist of the chapel-royal, and obtained permission to officiate as his substitute when the king came to service. He did so with becoming propriety till the close of the service, when, instead of the solemn departing air, he struck up the monarch's old favourite, "Brose and Butter." The scheme, though bordering on profanity, succeeded in the manner intended. The king proceeding hastily to the organ-gallery, discovered Cockpen, whom he saluted familiarly, declaring that he had "almost made him dance." "I could dance too," said Cockpen, "if I had my lands again." The request, to which every entreaty could not gain a response, was yielded to the power of music and old association. Cockpen was restored to his inheritance. The modern ballad has been often attributed to Miss Ferrier, the accomplished author of "Marriage," and other popular novels. She only contributed the last two stanzas. The present Laird of Cockpen is the Marquis of Dalhousie.

[51] The first two lines of this song are borrowed from the "Lea-Rig," a lively and popular lyric, of which the first two verses were composed by Robert Fergusson, the three remaining being added by William Reid of Glasgow. (See ante, article "William Reid.")

[52] The author seems to have composed these stanzas as a sequel to a wooing song of the same name, beginning, "Robin is my only jo," which first appeared in Herd's Collection in 1776. There are some older words to the same air, but these are coarse, and are not to be found in any of the modern Collections.

[53] Another song with the same title, "Saw ye nae my Peggy?" is inserted in the Collections. It first appeared in Herd's Collection, in 1769, though it is understood to be of a considerably older date. Allan Ramsay composed two songs to the same air, but they are both inferior. The air is believed to have originally been connected with some exceptionable words, beginning, "Saw ye my Maggie?"

[54] This excellent ballad is the fourth version adapted to the air, "Cauld Kail in Aberdeen." Some notice of the three former will be found ante, p. 46.

[55] There are several other versions of this highly popular song. One of these, the composition of William Reid of Glasgow, has already been adduced. See ante, p. 157. Another, which is one of the most celebrated, in the first two verses is nearly the same with the opening stanzas of Lady Nairn's version, the sequel proceeding as follows:—

Mr Lyle, in his "Ancient Ballads and Songs" (Lond. 1827, 12mo, p. 138), presents an additional version, which we subjoin. Mr Lyle remarks, that he had revised it from an old stall copy, ascribed to Colonel James Ramsay of Stirling Castle.

THE BONNIE LASS O' GOWRIE.

[56] The present is an amended version of an old song, entitled "The Bonnie Brier Bush," altered and added to by Burns for the "Musical Museum."

[57] A familiar Scottish phrase for good sense.

[58] Castle Gloom, better known as Castle Campbell, was a residence of the noble family of Argyll, from the middle of the fifteenth till the middle of the seventeenth century, when it was burnt by the Marquis of Montrose—an enterprise to which he was excited by the Ogilvies, who thus sought revenge for the destruction, by the Marquis of Argyll, of the "bonnie house of Airlie." The castle is situated on a promontory of the Ochil hills, near the village of Dollar, in Clackmannanshire, and has long been in the ruinous condition described in the song. Two hill rivulets, designated Sorrow and Care, proceed on either side of the castle promontory. John Knox, the Reformer, for some time resided in Castle Gloom, with Archibald, fourth Earl of Argyll, and here preached the Reformed doctrines.

[59] "Charles Edward entered Carlisle preceded by a hundred pipers. Two thousand Highlanders crossed the Esk, at Longtown; the tide being swollen, nothing was seen of them but their heads and shoulders; they stemmed the force of the stream, and lost not a man in the passage: when landed, the pipers struck up, and they danced reels until they were dry again."—Authentic Account of Occupation of Carlisle, by George G. Monsey.

[60] These verses are printed from a MS. in possession of one of Lady Nairn's friends, and are, the Editor believes, for the first time published.

[61] The romantic scenery depicted in this song is in the immediate vicinity of the Queen's Drive, Edinburgh.

[62] The wells of Weary are situated near the Windyknowe, beneath Salisbury Crags.

[63] This song is printed from an improved version of the original, by a literary friend of the author.

[64] This song having become known to George IV., it is said to have induced his Majesty to award the royal sanction for the restitution of the title of Baron to Lady Nairn's husband.—(See Memoir.)

[65] Here first printed.

[66] These verses are here first printed.

[67] This song was composed in 1842, when the author had attained her seventy-sixth year. The four lays following, breathing the same devotional spirit, appear to have been written about the same period of the author's life. The present song is printed from the original MS.

[68] These stanzas are printed for the first time. The MS. is not in Lady Nairn's handwriting, but there is every reason to assign to her the authorship.

[69] The simple and sublime original of these stanzas, with the fine air by HÜmmel, became the national song of Germany, and was sung by the soldiers especially, during the latter campaigns of the war, when Buonaparte was twice dethroned, and Europe finally delivered from French predominance.

[70] The Ouse.

[71] We have to acknowledge our obligations for several particulars of this sketch to Mr Robert Bower, Melrose, the author of a volume of "Ballads and Lyrics," published at Edinburgh in 1853.

[72] We regret that, owing to the provision of the copyright act, we are unable, in this work, to present four of Sir Walter Scott's most popular songs, "The Blue Bonnets over the Border," "Jock o' Hazeldean," "M'Gregor's Gathering," and "Carle, now the King's come." These songs must, however, be abundantly familiar to the majority of readers.

[73] From "The Grave of Sir Walter Scott," a poem by Thomas C. Latto (see "The Minister's Kail-yard, and other Poems." Edinburgh, 1845, 12mo). To explain an allusion in the last line of the above stanza, it should be noticed, that the last dress of the poet is exhibited to visitors at Abbotsford, carefully preserved in a glass case.

[74] This song appears in the sixth canto of "The Lay of the Last Minstrel." "It is the author's object in these songs," writes Lord Jeffrey, "to exemplify the different styles of ballad-narrative which prevailed in this island at different periods, or in different conditions of society. The first (the above) is conducted upon the rude and simple model of the old border ditties, and produces its effect by the direct and concise narrative of a tragical occurrence."

[75] This song occurs in the fifth canto of "Marmion." It is founded on a ballad entitled "Katharine Janfarie," in the "Minstrelsy of the Scottish Border."

[76] From the third canto of "Marmion."

[77] The song of Lady Margaret in the first canto of "The Lady of the Lake."

[78] The "boat song" in the second canto of "The Lady of the Lake." It may be sung to the air of "The Banks of the Devon."

[79] Song of Norman in "The Lady of the Lake," canto third.

[80] "The Lady of the Lake," canto sixth.

[81] "The Lady of the Lake," canto third.

[82] "Rokeby," canto third.

[83] "Rokeby," canto third.

[84] "Rokeby," canto fifth.

[85] "Rokeby," canto fifth.

[86] First published in the continuation of Strutt's Queenhoohall, 1808, inserted in the Edinburgh Annual Register, of the same year, and set to a Welsh air in Thomson's Select Melodies, vol. iii., 1817.

[87] Songs and Poems of Robert Mackay, p. 38. (Inverness, 1829. 8vo.)

[88] The Rev. Dr Mackintosh Mackay, successively minister of Laggan and Dunoon, now a clergyman in Australia.

[89] Quarterly Review, vol. xlv., April 1831.

[90] "Birk-shaw." A few Scotticisms will be found in these versions, at once to flavour the style, and, it must be admitted, to assist the rhymes.

[91] Birds.

[92] The sides of the cottages—plastered with mud or mortar, instead of lime.

[93] Salmon.

[94] "Poems," p. 318.

[95] "Anne"—Rob's first love, the heroine of the piece. "Similar in interest to the Highland Mary of Burns, is the yellow-haired Anne of Rob Donn."—"Life," p. 18.

[96] "Isabel"—the daughter of Ian Macechan, the subject of other verses.

[97] "Unsummon'd of thee." The idea is rather quaintly expressed in the original thus—"Though thou hast sent me no summons, love has, of his own accord, acted the part of a catchpole (or sheriff's officer), and will not release me." Such are the homely fancies introduced into some of the most passionate strains of the Gaelic muse.

[98] Alluding to his absence, and delay in his courtship.

[99] Rather more modest than the classic's "feriam sidera vertice."

[100] A common Highland adjuration.

[101] At this humiliating apostrophe, the beggar is reported to have instinctively raised his staff—an action which the bard observed just in time to avoid its descent on his back.

[102] "Statistical Account of Fortingall."—Stat. Acc., x., p. 549.

[103] The same account observes that though none of his works are published but his sacred compositions, he composed "several songs on various subjects."

[104] Published at Glasgow, 1836.

[105] These are his descriptions of "The Drunkard," "The Glutton," and "The Good and Wicked Pastor."

[106] Maiden or virgin—orig.

[107] Orig.—The venomous red spider.

[108] Gaelic, "gealag"—descriptive of the salmon, from its glossy brightness.

[109] Anglicised into Ben.

[110] The deer.

[111] Stag of the first head.

[112] Pass.

[113] Any one who has heard a native attempt the Lowland tongue for the first time, is familiar with the personification that turns every inanimate object into he or she. The forest is here happily personified as a nurse or mother.

[114] Bog-holes.

[115] Stripings.

[116] Gaelic—Easan-an-tsith.

[117] Primrose.

[118] St John's wort.

[119] A kind of cress, or marshmallow.

[120] Anglice—dark.

[121] Gaelic—Caoillt; who, with Cuchullin, makes a figure in traditional Gaelic poetry.

[122] Gaelic—King George.

[123] Literally—"From the barrel of Nic-Coisean." This was the poet's favourite gun, to which his muse has addressed a separate song of considerable merit.

[124] The "Auld Town Guard" of Edinburgh, which existed before the Police Acts came into operation, was composed principally of Highlandmen, some of them old pensioners. Their rendezvous, or place of resort, was in the vicinity of old St Giles's Church, where they might generally be found smoking, snuffing, and speaking in the true Highland vernacular. Archie Campbell, celebrated by Macintyre as "Captain Campbell," was the last, and a favourable specimen of this class of civic functionaries. He was a stout, tall man; and, dressed in his "knee breeks and buckles, wi' the red-necked coat, and the cocked hat," he considered himself of no ordinary importance. He had a most thorough contempt for grammar, and looked upon the Lord Provost as the greatest functionary in the world. He delighted to be called "the Provost's right-hand man." Archie is still well remembered by many of the inhabitants of Edinburgh, as he was quite a character in the city. In dealing with a prisoner, Archie used to impress him with the idea that he could do great things for him by merely speaking to "his honour the Provost;" and when locking a prisoner up in the Tolbooth, he would say sometimes—"There, my lad, I cannot do nothing more for you!" He took care to give his friends from the Highlands a magnificent notion of his great personal consequence, which, of course, they aggrandised when they returned to the hills.

[125] A byeword for a regimental firelock.

[126] A favourite fowling-piece, alluded to in Bendourain, and elsewhere.

[127] Alluding to the plagues.

[128] The teeth.

[129] Gaelic—Matted, rough, gray beard.

[130] In Stat. Ac. said to be of Lochbroom, vol. xiv., p. 79.

[131] Hugh Macleod.

[132] Applicable both to the chief and his crest.

[133] Literally, "the dress," (pron. ēidi,) i.e., Highland garb, not yet abolished.

[134] Sutherlanders, or Caithness men.

[135] Banner.

[136] Monro of Fowlis.

[137] Rose of Kilravock and his clan.

[138] Grant of Grant.

[139] Lovat.

[140] Of Culloden.

[141] Of Sutherland.

[142] Lord Reay.

[143] Steed. The Celtic "Cabul" and Latin "Caballus" correspond.

[144] Here the bard is a little obscure; but he seems to mean that the Monroes made their escape over the skulls of the dead, as if they were boats or coracles by which to cross or get away from danger.

[145] The Caithness and Sutherland men.

[146] Lovat's men.

[147] The eagle being the crest of the Monro.

[148] The eagle; the crest of Monro of Fowlis. The filthy and cruel habits of this predatory bird are here contrasted with the forest-manners of the stag in a singular specimen of clan vituperation.

[149] Fioreun, the name of the eagle, signifying true bird.

[150] Literally—Accursed by Moses, or the Mosaic law.

[151] The single eagle's feather crested the chieftain's bonnet.

[152] Literally—If thy feather is noble, thy claws are (of) the devil!

[153] This picture of the eagle is not much for edification—nor another hit at the lion of the Macdonalds, then at feud with the Seaforth. The former is abridged, and the latter omitted; as also a lively detail of the creagh, in which the Monroes are reproached with their spoilages of cheese, butter, and winter-mart beef.

[154] Seaforth.

[155] Literally—Bagpipes.

[156] Macallammore: Argyle.

[157] Macdonald of Sleat.

[158] Clanranald's country.

[159] Literally—Of blue steel.

[160] Mac-Mhic-Alister, the patronymic of Glengary.

[161] Castle Brahan, Seaforth's seat.

[162] Gaelic—Barrels of liquor, properly bÙidealan.