342. Spears, pikes, and axes. The 1st ed. and that of 1821 have Spears, but all the recent ones misprint "Spear." The "Globe" ed. has "Spear, spikes," etc. 343. Tartans. The checkered woollen cloth so much worn in Scotland. Curiously enough, the name is not Gaelic but French. See Jamieson or Wb. Brave. Fine, beautiful; the same word as the Scottish braw. Cf. Shakespeare, Sonn. 12. 2: "And see the brave day sunk in hideous night;" Ham. ii. 2. 312: "This brave o'erhanging firmament," etc. It is often used of dress, as also is bravery (= finery); as in T. of S. iv. 3. 57: "With scarfs and fans and double change of bravery." See also Spenser, Mother Hubberds Tale, 858: "Which oft maintain'd his masters braverie" (that is, dressed as well as his master). 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.