words; short for 'upset,' but with
a sense of awkwardness as the inherent cause of fall; compare Richie
Moniplies (also for sense of 'behoved'): 'Ae auld hirplin deevil of a
potter behoved just to step in my way, and offer me a pig (earthern
pot--etym. dub.), as he said "just to put my Scotch ointment in;" and I
gave him a push, as but natural, and the tottering deevil coupit owre
amang his own pigs, and damaged a score of them.' So also Dandie Dinmont
in the postchaise: ''Od! I hope they'll no coup us.'

_The Crans._ Idiomatic; root unknown to me, but it means in this use,
full, total, and without recovery.

_Molendinar._ From 'molendinum,' the grinding-place. I do not know if
actually the local name,[173] or Scott's invention. Compare Sir
Piercie's 'Molinaras.' But at all events used here with bye-sense of
degradation of the formerly idle saints to grind at the mill.

_Crouse._ Courageous, softened with a sense of comfort.

_Ilka._ Again a word with azure distance, including the whole sense of
'each' and 'every.' The reader must carefully and reverently distinguish
these comprehensive words, which gather two or more perfectly understood
meanings into one _chord_ of meaning, and are harmonies more than words,
from the above-noted blunders between two half-hit meanings, struck as a
bad piano-player strikes the edge of another note. In English we have
fewer of these combined thoughts; so that Shakespeare rather plays with
the distinct lights of his words, than melts them into one. So again
Bishop Douglas spells, and doubtless spoke, the word 'rose,'
differently, according to his purpose; if as the chief or governing
ruler of flowers, 'rois,' but if only in her own beauty, rose.

_Christian-like._ The sense of the decency and order proper to
Christianity is stronger in Scotland than in any other country, and the
word 'Christian' more distinctly opposed to 'beast.' Hence the
back-handed cut at the English for their over-pious care of dogs.

I am a little surprised myself at the length to which this examination
of one small piece of Sir Walter's first-rate work has carried us, but
here I must end for this time, trusting, if the Editor of the
_Nineteenth Century_ permit me, yet to trespass, perhaps more than once,
on his readers' patience; but, at all events, to examine in a following
paper the technical characteristics of Scott's own style, both in prose
and verse, together with Byron's, as opposed to our fashionably