2. _Guystroun_ should be _quystroun_, which is used by Chaucer in the _Romaunt of the Rose_, and signifies a _scullion_, as is evident from this passage. It is from the O. Fr. _quistron_ or _cuistron_. Thus in K. Alisaunder (Weber's _Metr. Rom._), v. 2511.: "Ther n'as knave no _quistron_ That he no hadde gôd waryson." 3. By _Chaunsemlees_ we may probably understand _schoon-semeles_, signifying, no doubt, _sandals_. 4. "Hir chere was ay _semand_ sori," which your correspondent says is "an expression very strange to English verse," is nothing more than the old form of _seeming_: her cheer was ever sorrowful or _sad-seeming_. The termination _and_ or _ande_, as well as _inde_, was formerly used where we now have _ing_. Examples are numerous of this form; as _semand_ and _semynd_, _spekand_, _strikinde_, &c. &c. In Gawin Douglas, _Eneados_, we have _glaidsembland_ for an appearance of joy or gladness, a _cheerful countenance_; and in b. ii. v. 159.: "As that drery unarmyt wicht was sted And with _eine_[8] blent about _semyn ful red_." [Footnote 8: Your correspondent's extract has _ane_; but _eyes_ are evidently meant.] There are other words which appear in an uncommon form in these extracts, for instance, _telid_ and _telith_, _hirched_ and _hirching_; and the following plural form I do not recollect to have observed elsewhere: "For ser deyntes and many _mes_ Make men falle in many _sicknes_." In the last line of the first page, _Salhanas_ should be _Sathanas_: "And so slew Jesu Sathanas," reminding us of the tradition mentioned by DR. RIMBAULT, "the Devil died when Christ _suffered_," not when he was _born_. S. W. Singer. Mickleham, Aug. 18. 1851. Replies to Minor Queries. _Lady Flora Hastings' Bequest_ (Vol. iii., pp. 443. 522.; Vol. iv., pp. 44. 92. 108.).--ERZA regrets extremely the mistake she has made with regard to the above poem. The person from whom, and the circumstances under which she received it, all tended to confirm her in her error till the last moment--with which, if the authoress of this beautiful poem were acquainted, ERZA is sure she would be forgiven. [To these regrets on the part of ERZA we have to add the expression of our own that our columns should have been made the medium of a statement which it is obvious originated in error. We regret also that, after the contradictions given to the first statement, ERZA should, without a positive knowledge of the real facts of the case, have reiterated in such strong terms the claims of Lady Flora Hastings to the authorship of a poem which it is now quite clear is really the production of Miss Barber.]