552. Bridegroom. Here accented on the second syllable. In 682 below it has the ordinary accent. 555. 'Scapes. The word may be so printed here, but not in Elizabethan poetry. We find it in prose of that day; as in Bacon, Adv. of L. ii. 14. 9: "such as had scaped shipwreck." See Wb., and cf. state and estate, etc. 559. Pitched a bar. That is, in athletic contests. Cf. v. 648 below. 562. See the gay pennons, etc. The MS. reads: "With thee these pennons will I share, Then seek my true love through the air; But I'll not lend that savage groom, To break his fall, one downy plume! Deep, deep, mid yon disjointed stones, The wolf shall batten his bones." 567. Batten. Fatten; as in Hamlet, iii. 4. 67: "Batten on this moor." Milton uses it transitively in Lycidas, 29: "Battening our flocks with the fresh dews of night." 575. The Lincoln green. "The Lowland garb" (520). Cf. also 376 above. 578. For O my sweet William, etc. The MS. reads: "Sweet William was a woodsman true, He stole poor Blanche's heart away; His coat was of the forest hue, And sweet he sung the Lowland Lay." 590. The toils are pitched. The nets are set. Cf. Shakespeare, L. L. L., iv. 3. 2: "they have pitched a toil," etc. "The meaning is obvious. The hunters are Clan-Alpine's men; the stag of ten is Fitz-James; the wounded doe is herself" (Taylor). 594. A stag of ten. "Having ten branches on his antlers" (Scott). Nares says that antlers is an error here, the word meaning "the short brow horns, not the branched horns;" but see Wb. Cf. Jonson, Sad Shepherd, i. 2: "Aud a hart of ten, Madam, I trow to be;" and Massinger, Emperor of the East, iv. 2: "He'll make you royal sport; he is a deer Of ten, at least." 595. Sturdily. As Taylor notes, the "triple rhymes" in this song are "of a very loose kind." 609. Blanche's song. Jeffrey says: "No machinery can be conceived more clumsy for effecting the deliverance of a distressed hero than the introduction of a mad woman, who, without knowing or caring about the wanderer, warns him by a song to take care of the ambush that was set for him. The maniacs or poetry have indeed had a prescriptive right to be musical, since the days of Ophelia downwards; but it is rather a rash extension of this privilege to make them sing good sense, and to make sensible people be guided by them."