At the September fair there is still a lively gathering of moor sheep, moor horses, and moormen, and the chatter has a rich Devonian intonation, with a delightful smack of the soil. Widecombe is one of the so-called Venville parishes, Venville being a word of doubtful origin (sometimes written Wangfield), which probably signifies a kind of feudal tenure. These parishes were freehold with certain attached services, and their inhabitants had a prescriptive right to all uses of the moorland except those of "vert and venison"--that is, of gathering green wood or killing the deer. There was never much green wood to gather on the moor itself, and the deer have long since departed, unless when one occasionally wanders over from Exmoor. The moorland proper, technically the Forest, is surrounded by commons, outside which are the Venville parishes; and these commons were formerly of far wider extent, having been sadly curtailed by "newtakes" and enclosures, sometimes by the authorities of the Duchy, sometimes by lords of the different manors, sometimes by moor-settlers themselves. A small fee is demanded by the Duchy for all cattle pastured on the moor by outsiders, the cattle of the moormen grazing free; and there are periodical "drifts", when each Venville proprietor claims his own, and "foreigners" have to pay the tax. [Illustration: WIDECOMBE ON THE MOOR (_Page 38_)] We are reminded of London by the dedication of Widecombe Church, which is to St. Pancras; and thoughts of the metropolis again come to us at Hey Tor, which provided granite for London and Waterloo Bridges. These eastern heights, Rippon and Hey Tors, are not so lofty as those of the north-west, but they both command very fine views. It is magnificent to see sunset flame across the moors from this eastern borderland. Patches of cultivation, open moorland dotted with sheep, lovely river-valleys, and wide undulations of heather and gorse fade into horizons of the westward summits. There is always the changeful charm of atmosphere. The scene may be of vast, glorious peacefulness, but it is great also when there is the confusion of cloud-strife, rain raking the hillsides--when the spirit of the moor is abroad in storm and darkness, when colour is quenched in wet and driving wrack. It is easy then to picture the moor as the phantasmal haunt of lost races. Dartmoor has many moods, variable as the soul of man--sometimes of gentle pensiveness and dreaming, touched with sentiment, sometimes of fierce striving passion or inconsolable woe, sometimes of desolation deepened to despair. In all these there is a quality of the unconventional and untamed, a sense of the nearness of mystery, the brooding of the unseen, the force of powers that we sometimes feel to be in profoundest sympathy with our own longings and imaginings, sometimes in the most vexed antagonism. Here, as elsewhere, we find very much what we bring, but we find it intensified, vivified; it may