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out otha! Tha hastcreem'd ma carus, Purse thy steps! forbear the rade enbezce!

and a most a borst 152 seck-Wol, bet for Ahmed! thus my tortwrd seck to stras, all, bow dost t try, es zey, cosca Andra? Thos grasp my arms, and pierce my breas base a zoed ye a gurt while.

with pain !-
Ye tell me, Celadon, sh me! with friends
How soon forgiveness on offeace attends !
Tell, if thy absent days in joy have past,
For many a day is tied since I bebeld thee

last? de Why fath, coser Margery, port Cd. In truth, Pastora, bot eismpt from marchartable, c'ex zince e scored a § tack pain « two wey Rager

. Vrogwell t'ether day. These limbs have prov'd since on Ladona's Bet, zogs!' es trem'd en, and vazg'd en zo, plain that beel veel et vak wone white With angry Lycidas I strove ; but know,

Full little cause for triumph had my foe.
But, by yon szure heaven, the bloss I dealt
Were oft repeated, and were sorely felt.
Oft shall the moon increase, and oft decay,

Ere he forget his humbled pride that day. Mar. How, cosen Andra! why e thort Pas. Ah! Little deeran'a Pastora that, in you coudent a vort zo.

Hergentle kirsman could rough contest raga. An. Why, twos oll about thee, || mun : Col. For thee that rage arose could I unVOX 6 chant hire an eel word o tha.

moved Hear the maid slander'd whom my soul ap

proved ? Mar. How! about me! Why, why vore Pas. For me! good heaven, what charge about me, good zweet now ? of a ground unjust and vain ha can zey no harm by ma.

Could he produce Pastora's fame to stain ? An. Well, well, nó mater. Es coudent Cel. Nay, let it pass it was not mine to hire tha a run down, and a roilad upon zo, hear and zet still like a mumchance, and net Thy conduct censur'd and revenge forbear; pritch en vort.

Ye powers! could I sit impotent and tame

Whilst malice dared Pastora's acts defame! Mar. Why, whot, and be hang'd to en, Pas. What! il betide the wretch whom cou'd ha zey o me, a gurt ** meazel.

I despise
As the base tenants of the wattled sties,
What could he say, what urge?

« Εννικα μ' εγελαζι θελοντα μιν αδυ φιλασαι
Και μ' επικερτομέουσα, τα δείτεν: Ερρ απ έμειο:
Βωκολος ων εθελεις με κυσαι, ταλαν; * μεμαθηκα

Αγροικως φιλεειν. -&c.
Chaucer says, when woman

“ hath caught an ire Vary vengeance is all her desire." -The Sompnour's Tale. • i. e. Squeezed, from the Teutonic Krimpen, to contract, to be creem'd with the cold, is synonimous to be cramped pre frigore obtorpescere. May we derive from the same word the army crimps, who render torpid those they lay hands upon ?

+ i. e. How d’ye do? A sea phrase, perhaps communicated to the old Exmooreans by some navigators of the Bristol Channel It is used by Shakspeare in the Tempest (Act i scene i.) in a nautical serise.

# Nort marchantable seems a figurative expression derived from commerce, "a commodity not perfectly sound or vendible.” Andrew's meaning therefore is Not perfectly sound or well, ever since I interchanged some blows with Roger Vrogwell.

& From the Islandic tak a blow, or the Latin tactus. Score is often used in the same sense as to reckon. || Perhaps for ummun, i. e. woman.

Perhaps from mome, a foolish creature, and chance, or come by chance, a changeling, dropt by the fairies instead of some more promising child taken away by them from the cradle. Mome or mawm may be derived from momar, an old Sicilian word, which depotes an idiot.

** A hog or sow, from the cutaneous distemper to which these animals are liable ; or, it may be from the Danish meolk, and Anglo-Saxon meole, “milk,” their general food.

" Against those meazles which we disdain should fetter us." Coriolanus.

rose,

Chell try

An. Es begit tha words now bet ha ro. Cel.

The words unkind, ilad zo, that es coudent bear et.-Bet a de. Unjust, remembrance brings not to mymind; dent lost hes labour, fath! vor, es * tozed But 'tis enough, my fair, for thee to know en, es † tamb'd en, es laced en, es I soon aveng'd thee on thy worthless foe. thong'd en, es drash'd en, es drubb'd en, es Now here, now there, as in my strength I tannd en to the true ben, fath.-Bet, tap! cham avore ma story. Zes I; “ Thee He felt the fury of repeated blows. art a pretty vella !” zes he ; Gar! thee cas- Yet stay, whence first began our fierce debate, sent make a pretty vellao'ma.” “No, agar,' Since, such Pastora's pleasure, I'll relate. zeys I, “ vor th'art too ugly to be made a “ A pretty tale, and pretty youth,” I cried. pretty vella ; that's true enow.”

Gar, a He thus, “ to check by force o'erweening was woundy mad | thoa.

pride thate," zeys he.--" As zoon's thawut, Is mine ; a pretty youth then style not me, zeys I.-Zo, up a roze, and to't we went. In manly strength superior far to thee." Vurst, a geed ma a tt whisterpoop under “ Ah no," I tauntingly replied, “ in truth, tha year, and II voreway a geed maasvuteh To make thee, Lycidas, a pretty youth in the zeer.---Add! thoa es rakad up, and Transcends all haman power." And now tuck en be that collar, and so box'd en and

his breast zlapp'd en, that es made hes |||| kep hoppy, With fury swell’d, as he these words addrests and hes yead addle to en.

“ Shall we the contest then of manhood try?”
“ If such thy wish, this instant !” I reply.
Swift he advanc'd, impatient to engage;
I swift opposed him, fired with equal rage.
Beneath my ear he first a blow applied,
Then struck with fury my unguarded side ;
And now I summond all my might, and

prest
Upon my foe: I grasp'd the fleecy vest,
In snowy folds, that wrapt his neck around,
And now my fierce tempestuous blows re-

sound;
From side to side his locks dishevell’d flew,
Whilst his head dizzy with their fury "grew.

Oliver, in the London Prodigal, who, from his speaking so nearly the genuine language of the Moor, shews its having prevailed much more extensively in former days, threatens to take away his mistress from “theck a measel,” i. e. such a worthless despicable fel. low. He often uses the word in that sense.

Toze, I take to be of the same meaning as another Devonian word, towzee to toss or tumble.

+ From an obsolete Greek word neuew to lick, still used in the same sense at Eaton and other learned seminaries. Some literati derive it from the sound of a blow heartily laid on, as well as slam, or the more expressive slam-bang, all Exmoorean words; some from the Icelandic lem to kill, from whence the proverbial expression, “ to give any one a lam-pye,” is ingeniously traced.

Lace denotes to lash, verberare toris, for which consult Junius on lace and leash ; and Skinner on lace and lash.

§ Or perhaps bent, possibly to the utmost stretch of the bow. Thus, in Hamlet, “ They fool me to the top of my bent.”

|| Then. Wilt.

++ A close offensive whisper, as disagreeable to the ear as crepitus ventris to the nose, thence applied to a sudden unwelcome blow.

# Immediately ; so vore-reert denotes forthright, headlong, without consideration.

SS Vutch in the Leer," to push any one (under the ribs), as if you were underpropping, from the Anglo-Saxon. Leery denotes, among the Exmooreans, "hollow or empty." A leery horse, a leery stomach, i.e. a lean horse, an empty stomach. Under the leer is under the hollow of the ribs, from the A. S.

OU “ Kep,” a cap. A. S. or Græce ripunos.

** This combat will lose nothing on being compared with that between Amycus and Pollux (Idyll. xxii.), which the author appears to have had in his eye. It seems in the original to have been written in a kind of irregular lyric measure, and in acting was probably accompanied with music, which gave time to the comedian (as well as regulated it)

** Gave.

Mar. Well es thank ye, cozen Andra, Pas. Thus to defend an injur'd maid was vor taking wone's pearte zo.Bet cham

kind, aghest he'll go vor a varrant vor ve, and Accept the thanks of no ungrateful mind; take ye bevore the cunsabel ; and than ye But much I fear he'll of thy blows complain mey be bound over, and be vorst to g'in to To those, whose office 'tis to guard the plain. Exter to zizes; and than a mey zwear the From lawless contests; and for this offence peace o es, you know.Es en et better to They drag thce to our high tribunal hence ; drenk vriens and make et up ?

And thou be bound in penalty severe
No more with angry words to wound the

shepherd's ear.
'Tis better far to bid contention cease,
Together meet, and, as a pledge of peace,
The sweet libation to Lyæus pour,

Then drain the goblet, and be foes no more. An. Go vor a varrant! Ad, let en, Cel. Sayst thou ! why let him, if he will, let en go. Chell not hend en. Vor

complain, there's Tom Vuzz can take his cornoral Soon shall he find that his complaint was vain. oath that he begun vurst.--And if a deth, Attesting Heaven to mark what he shall say, chell ha as good a varrant vor he, as he can Dorus can prove that he began the fray. for me, dont question it, vor the turney in. How, Lycidas complain! trust me, my cause to Moulton knoweth me, good now, and has Will stand the test of our severest laws had zome zweet pounds o vauther bevore ha Mutual be then the suit !-mine to defend, died. And if he's a meended to go to la, In Alea Lacon dwells, my father's friend, es can spend 7 vorty or vifty shillings as well's Above his peers for legal skill renown'd; he. And zo let en go, and whipe what a And still success his learned toils has crown'd. zets upon a Zendeys wey hes varrant. Bet, In recompense of which for him were slain hang en, let's ha nort more to zey about en; Full oft the choicest of our fleecy train. vor chave better bezeneze in hond a gurt If legal contest be his aim, my powers deal.

Are great as his, as great my fleecy stores;
But wherefore waste I words on one so base,
Evil pursue him, and deserv'd disgrace.
A lovelier theme would Celadon pursue ;
A lovelier object offers to his view.

for explaining his varied feats of prowess by gesticulation. .“ Es tozed en, es lamb'd en, es laced en," &c. were doubtless plaid with rapidity, and, if accompanied by the marrowbones and cleavers, musical instruments of great antiquity and popularity, though now much in disuse, must have had a happy effect. The precise meaning of rehisterpoog, though a word in common use, I am unacquainted with, but believe that it denotes, like lirripoop, a blow in general. The latter word likewise is common in the north of Devon, and was formerly so probably in other parts of England.“ So, so, I've my lerrepoop already." (" Wit at several weapons." Fletcher's Works, Oct. vol. viii. 259.) Se Oliver, in the London Prodigal, “ Such a lirripoop, as thick ich was ne'er a sarved.”

* “ The Greek ayostos has the same meaning, sidos ayustov, Hom. ab wytw. Aghast frequently occurs in old writers, and sometimes in modern, but no longer in conversation. So Hodge, in “ Gammer Gurton's Needle,” A. i. S. 3. “ Cham aghast, by the masse !"

+ Andrew's affirming that he could spend 40 or 50 shillings'in a law-suit as well as his adversary, is one of the circumstances on which I ground the

idea that this work was composed in the early part of Henry 7th's reign. Upon a strict inquiry, and an accurate examination of several attornies bills at that time, I find a smart contest of this kind might be carried on and concluded for that sum at the Exeter Assizes. Some people have imagined (idly enough), that those Pastorals, like the poems of Ossian and of Rowley, were composed by their editor; but the Moor-men, at the period he published them, about sixty years since, perfectly well knew by experience that an action for assault and battery would soon swallow up treble that sum. He would not therefore, had he meant to depic. ture the times as they then were, have been guilty of such an inaccuracy. That he indeed has, in a few instances, modernised the original is evident, and perhaps in this very place has substituted 40 or 50 shillings for 3 or 4 merkes, to render the passage more intelligible to the Moor-men of his time. By the ideal coin merks, as by pounds at present, suns were reckoned in Henry 7th's time. In Rowley's poems they are frequently mentioned, and spelt sometimes merkes, sometimes mancas.' The latter probably was the court, the former the country pronunciation. As his ingenious editor has not elucidated this difficul. ty, the conjecture, though rather hazardous, being supported by no authority, is, I hope, entitled to pardon.

Mar. Come be quite be quite, es zey, Pas. Why in thy arms is thus Pastora

grabbling o wone's † tetties; es wont prest ? ha ma tetties a grabbled 20 ; nor es wont Why rudely clasp'st thou my reluctant breast? be I mullad and soulad, -stand azide I charge thee from such insult to refrain : come, S ge o'er !

Away, and quit my sight, licentious swain ! An. || Lock, lock ! how skittish we be Cel. Ye powers ! what strange caprice is now ? you werent zo skittish wey Kester this, and why Hosegood up to Daraty Vuzz? up-setting. Is fair Pastora now so wond'rous shy? -No, you werent zo skitish thoa, ner zo Not so reserved was she when in the hour squeamish nether. He murt mully and of festive joy, in Musidora's bower, soully tell a wos weary.

Joy for her new-born son, young Strephon
The yielding maiden to his throbbing breast;
His warm embrace she strove not to restrain,

Nor for his freedom chid the happy swain. Mar. Es believe the very dowl's in Past. Surely the demon of detraction ** volk vor leeing.

reigns

In the vile bosom of Arcadian swains ! An. How! ++ zure and zure, you wont Cel. And will Pastora then the truth deny it, wull ye, whan all the voakentuk deny ? noteze of et.

Th' embrace was noted by the general eye. Mar. Why cozen Andra, thes wos the Past. What truth directs that only I'll whole II vump o tha bezeneze. Chaw'r in

advance ;

prest

• A corruption of grapple, from the Belg. “ grabbalen.” + From the A. S. G. Titlos Tithm tulnun.

# Or, moulad and soulad, “ pulled or halled about." Shakspeare uses the latter word, though differently spelt, in the same sense. “ He'll go,” he says, “and sole the porter of Rome by the ears."-Coriolanus.

& From the action here referred to in the dialogue, we may suspect that these scenes were publicly exhibited to relieve, as noticed in the preface, the melancholy impression of more serious performances. Our forefathers, in some respects not so delicate as their descendants, smiled doubtless at the freedoms of Andrew, and triumphed over the alarmed delicacy of Margery. Long after this performance was composed, in 1600, the Mysterie, entitled Adam and Eve, was exhibited, in which they appeared in their primitive state, and, as 'tis said, “ neither they nor the audience were ashamed,” so that, instead of cena suring our bard for approaching so near to indecency, we should applaud him for going no nearer. Few dramatists indeed, in the following century, sacrificed so little to the depraved taste of the times. If some tincture of blame still remains, let us consider that he made Theocritus his model; that those liberties are warranted by the customs of Arcadia. I refer the learned reader to the xxvii. Idyl. where the shepherdess, in terms similar to Margery's, thus upbraids her shepherd : “ Μη καυχω σατυρισκε κενοντο φιλημα λεγε;.

κτοπτυω τα φιλαμα. .
Τι ρηζεις Σατυρις κε και τι δ' ενδοθεν αψαν μαζων;

Ναρκω και τον Πανα: τεην καλιν εξιλε χειρα.The poet of the Moor was too modest and decorous to copy the original any farther.Johnson somewhere observes, that the characters introduced in pastoral poetry are neither “ in real existence nor speculative probability.” The doctor was a great man, but not infallible. That the characters in the Exmoor Courtship are true copies of nature, no Devonshire man will deny ; that they agree with those drawn by Theocritus, the father of pastoral poetry, in his Idyllia, in many striking instances, is no less certain. That the doctor, therefore, sometimes rationated inconsequentially is equally indisputable.

An expression of admiration :-"Look here_Only see!” From the A. S. Locah,

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Ho sce.

“ The devil" (or Deule), from the A. S.

“ He said the Dcule would have him about women.”Hen. 5.

** Volk and voaken, people.

++“ Zure and zure and double zure,” for it has sometimes that addition, is considered as a Devonshire oath.Pol. Edipol.

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# Lump.

Vol. IV.

3 Y

air :

wey en to daunce; and whan thau daunce 'Twas mine with him to lead the mazy was out, tha crowd cried, t squeak,

dance. squeak, squeak, squeak, as a uzeth to do When lo, the harp's sweet string, too tightly you know: and a cort ma about tha neck, wound, and woudent be azed, bet a would kiss ma, Burst sudden, and sent forth a jarring in spite ef ma, do what es could to hender sound. en. Es coud" a borst tha croud in shivers, A signal too well known by every swain and tha crouder too, a voul slave as a wos, For licens'd rudeness ; nor could I restrain and hes viddlestick into the bargain. The daring youth : in vain I long denied

What ancient custom idly sanctified.
In rage I could have rent the chorded lyre,
And him, base wretch, who led the tuneful

quire ! An. Wull, wull, es ben't angry, mun.

Cel. My short-lived anger I dismiss in And, zo let's kiss and vriends, (kissing her.) Wull, bet, cozen Margery, oll thes while Nor let resentment thy soft bosom tear. es han't told tha ma arrant; -and chave an And, whilst returning amity we hail, over arrant to tha, mun.

Thus let our lips the pleasing compact seal.

(Salutes Pastora. Wherefore my errand should I thus delay?

For I have much of import dear to say. Mar. (simpering) Good zweet now, Pas. What, 0 ye powers ! can of such what arrant es et ? es & mart whot arrant import be ye can ha' to ma.

As Celadon would fain confide to me? An. Why vath, chell tell thae what zig- Ceh Hear then the truth, for why should nivies et to mence tha mater ? Tes thes,

I conceal bolus, nolus, wut ha' ma !

What honest passion bids me to reveal !
Will fair Pastora kindly condescend

T'approve my suit ?-
Mar. Ha ma! whot's | thate ? Es cant Pas.

Your suit ? Ah, whíther tell whot ya me-an by thate.

tend Those words mysterious of my gentle

friend. An. Why, thun chell tell tha vlat and Cel. In 'simpler words be then my plean. Ya know es kep Chattacomb moor thoughts array'd, in hond ; tes vull stated. But cham to Such as shall not my doubting fair mislead.

Fiddle.

+ This interruption in the musical strain is said to be often designedly produced by the fiddler in the middle of a dance to promote a more lively intercourse between the country beaux and belles ; the former being expected to salute the latter during the pause which consequently ensues. A Moor bard of my acquaintance suspects that Horace in the fol. lowing passage refers to a similar circumstance, and that by * carmina divides,” we are to understand the winding the strings of the lyre so tight as to cause their breaking (divisio), for the same purport as is mentioned in the text; and hence the propriety of the phrase "grata fæminis."

grataque fæminis Imbelli cytharâ carmina divides.-Hor. Carm. i. Od. 15. The epithet imbellis denotes a lyre liable to such accidents. Warner, in his “ Second Walk through Wales," mentions, that in the peasants' dances the men salute their partners upon the musicians playing a peculiar tune. It tends to illustrate the custom among the Ex-moor beaux noticed above, which is perhaps merely a variation of the same ancient ceremony of Celtic origin. It may have been at one time the proemium to the dance (another variation), and alluded to by Shakspeare in his masque in the Tempest :

“ Curtsied when you have, and kist." “ Very great,” in which sense, conjoined to another word, it frequently occurs in various writers" an over-mind, an over-desire, an over-weening ;"_to over-eat, over. run-errant from spiw spsiw interrogo. quero.

§ “ marvel.”

ll The timid delicacy of Margery, and manly affection of Andrew, cannot be sufficiently admired. How superior how much more natural is this love scene than any that can be found in modern novels or antiquated romances !

This account of setting a leasehold estate (though extremely natural and prudent), does not sound very poetical ; yet I did not think myself at liberty to depart from my ori

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