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in Palestine, and that this Ode, in the manner of the Highland Pibroch, was used for the gathering of the Fenwicke to repel them.” Mr. Richardson “respectfully inscribed” it “to a descendant of the ancient WARLIKE Band of FENWICKE.” The notes are by the author.

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1 Spearman, Bowman, Truewick (or Trewicke), and Bewicke; names of clans or families, the retainers or vassals of Percy, and allies of Fenwicke, the descendants of whom exis: to this day.

2 Hamlets in Northumberland. Elf-Hills (the Hills of the Fairies) near Cambo Sir John De Cambo kept a watch on these and the neighbouring eminences.

3 A wisp of straw or tow, mounted upon the point of a spear, and set on fire, when a raid took place. When this portentous ensign was carried through the border country, all must instantly fly to arms. It was the Hot-Trod.


Stowpe, Cuddie.

Stowpe, Cuddie, and bowe thy brie,

To Peeres of York, our legate borne;
Look well a bout, and take good e'e,

Lest now thy cause be quite forlorne.
Stowpe, good Cuddie, and bowe thy knee,

Lest thunder boltes beginne to flee.


These lines are stated to be “certain verses made by a learned and a pleasant poet, about the yeare of our Lord 1310, or thereabouts, when the see of Yorke beganne to arme themselves against our church of Durham, with the power legatie.”—Mickleton's MSS. o. 1. p. 315.

It seems hardly necessary to say that the cathedral church of Durham is dedicated to St. Cuthbert, and the cathedral of York to St. Peter. The lines themselves can hardly be of the age stated, but may be uncertain recollections of them in the time of Charles II.

The dean and chapter, or before them, the prior and convent of York, claimed to hold the keys of St. Cuthbert during the vacation of the see ; and some archbishop was forced to fly for his life down the steps behind the Black Bull Inn, for having attempted to assert his authority during the vacation.

On certain occasions, a person is sent to Durham to summon the dean and chapter to York, to do some act of submission, to which the dean and chapter of Durham answer, “ Your message is impertinent." -Sharp's Bishoprick Garland.

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Pelton Lonin.

The swine com jingling doun Pelton lonin,
The swine com jingling doun Pelton lonin,
The swine com jingling doun Pelton lonin,
There's five black swine and never an odd one :
Three i' the dyke and two in the lonin,
Three i' the dyke and two in the lonin,
Three i’ the dyke and two in the lonin,
There's five black swine and never an odd one.

Though some of the inhabitants of Pelton still sing this song to their children, they are not now aware either of its origin or its application : and the proverbial song of “ They'll all come back, like the pies o’ Pelton,” is equally obscure.Ibid.



The Pastoral Poet:


The hand is harmless when the tongue can rhyme.



ERE it ever our fortune to be in Warwick

shire, and to visit Stratford-upon-Avon, the places where Shakspeare was born, where he spent the latter period of his days, and where the remains repose of that frame which once held as powerful an intellect as ever fell to the lot of humanity, would be the first objects of our research.

On witnessing these, and enjoying the train of reflection arising from them, our gratification would not be less than it was when we visited the mausoleum of Robert Burns at Dumfries, and stood in the presence of his widow, in the very house from which the proud, injured and yet compassionate spirit of the great master of Scottish song took its departure. But though these men stand conspicuously forward amongst the number who have poured their produce of mind, like plentiful streams, into the broad oceanriver of literature, and have thereby acquired popularity of the most enduring kind, there are many who have contributed to the same in such measure as to entitle them to a share of notice, and yet their names, and what they performed scarcely ever arrest our attention. We observe this more forcibly, perhaps, if we reside in a town or village, where authors of the latter description lived and are buried : few think of spending even a passing thought about the spots where such men take their last repose, and still fewer have the curiosity to ascertain either where they resided, or to learn even what tradition may have preserved of their history. Yet whoever has given utterance to stirring and agreeable ideas, presenting them to us fresh as words can convey them, ought not to be thus neglected; it is, therefore, our intention to glance considerately over the life of John Cunningham, whose fame as a poet warrants us to include him in our literary associations of Newcastle, and in doing so we wish to be

actuated by no other motive than to speak justly of his talents and memory.

This pastoral poet was born at Dublin, in the year 1729, of parents who originally belonged to Scotland, but removed in early life to Ireland, where the father, probably, had better scope in the exercise of his profession, which was that of a wine-cooper. On obtaining, however, a prize in the lottery, he became a wine merchant; and whether from inexperience in his new line of life, or want of prudence, we cannot say, but shortly afterwards, he was made a bankrupt. The young poet, when this reverse in his father's fortune took place, had been receiving his education at the Grammar school of Drogheda, under a Mr. Clark; and was therefore under the necessity of returning to Dublin. Here, having no regular employment, he became attached to theatrical pursuits, and affording early proof of his talents by producing, at the age of 17, a drama called “Love in a Mist,” he obtained free access to the theatre, which circumstance, unfortunately, created in his mind a dislike to the steady and honourable life of a tradesman. The aim of his ambition was to “tread the stage,” and he brought to the trial scarcely a single qualification—he lacked the assurance necessary to a good actor; his voice was so unmusical as to be offensive to the ear; and his ungainly figure proved an insurmountable obstacle to his success. Yet, notwithstanding these disadvantages, and without communicating his intention to his friends, he pursued the bent of his inclination so far


with an itinerant manager, and come over with him to England. On following the strolling profession for some time, he became aware of the imprudent step he had taken ; but the stirrings of pride, and his dread of a state of dependance prevented him, in the first place, from returning to his relatives ; and, afterwards, on receiving intelligence of his father's death, he was, as it were, compelled to adhere to the theatre for the remainder of his days.

It would appear the company with which Cunningham engaged, found their exertions best rewarded in the north of England; and he was accustomed to perform at York, Newcastle, Sunderland, Alnwick and other places. He was seen to the greatest advantage in his representation of a mock French character: and, in general, he is said to have formed a very just conception of the design of his author, which with the intelligent portion of an audience would tell strongly in his favour. In 1761, he quitted England, and engaged with a Mr. Love, manager of the theatre in the Cannongate, Edinburgh. He now furnished evidence of his poetical ability, and, during the three following years, published successively, “an Elegy on a Pile of Ruins," " The Contemplatist,” and “ Fortune, an Apologue.” By

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