One of them escaped, but the other two, including the taverner, were retaken next morning, and both were sentenced to die. The narrative proceeds to state that “there were many Women of Quality in Exeter that made great intercession for the said innkeeper to get him a Reprieve, not so much for his sake, as out of charity to his poor innocent Wife and Children; for she was generally reputed a very good, careful, industrious and pious Woman, and hath no less than nine very hopeful children; but the nature of the Crime excluded him from mercy in this World, so that he and his Comrade were on Tuesday, the 13th of this instant August (1678), conveyed to the usual place of Execution, where there were two that presently suffered; but the Innkeeper, desiring two hours’ time the better to prepare himself, had it granted, which he spent in prayer and godly conference with several Ministers; then, coming upon the ladder, he made a long Speech, wherein he confessed not only the Crime for which at present he suffered, but likewise divers other sins, and particularly lamented that his Hypocrisie, earnestly begging the Spectators’ prayers, and exhorting them not to despair in any condition ... and so with all the outward marks of a sincere Penitent, submitted to his sentence, and was executed.” Dr. Lake, whose _Diary_ has been published by the Camden Society, happened to be visiting a prisoner in the gaol when Barnes and his accomplice were brought in. The doctor says that he was “a notorious Presbyterian,” and that “the evening before hee went forth to execute his design”--of robbing the carrier--“hee pray’d with his family two hours.” The authority for this story is a unique tract in the Bodleian Library, Oxford, of which the late Robert Dymond, of Exeter, made a copy, and to which he refers in his paper on “The Old Inns and Taverns of Exeter,” in the _Transactions_ of the Devonshire Association for 1880. EDWARD CAPERN The Postman Poet, Edward Capern, has been hailed as the Devonshire Burns, but he has no right to be so entitled. Burns, at his best, sang in the tones and intonation of his class and country, and it was at his worst that he affected the style of the period and of culture, such as it was. Now Capern aspired to the artificiality and smoothness of the highly educated and wholly unreal class of verse writers of the Victorian period, of whom John Oxenford may be thrust forward as typical, men who could turn out smooth and finished pieces, rhythm and rhyme correct, but without a genuine poetical idea forming the kernel of the “poem.” What can be said for verses that begin as this to the Wild Convolvulus? Upon the lap of Nature wild I love to view thee, Beauty’s child; And mark the rose and lily white Their charms in thy fair form unite. And this to the White Violet?