-,

TU I0=RY OF ROSZRT UE IRYCODU tA

S'UD'? OF TIIÄ U3:: OF COURCE "T:: RIAI.

by

I. Q. A. Jl'ºZI I1 SO

Theme presented for tha Dogrec or Doctor of Philosophy of the University of Edinburgh in the Faculty of 1,, rts.

l; ovc: ber, 1964.

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4

, PRZFAC$

float of Hcnryeon' e poetry retells tales nlror. y told many

times before; all of it is written within the context of

accepted genres and forces. Henrjaon'a"audienco would have

known these stories and genres, and even todcr roadera approaching

his works will know the storied of certain oP"the fables, and or

Orpheus end Eurydice, that Is of importance than is then

particular way in which the otories are told, the particular

eaphasis given, the particular themes stressed. while it is

of course true that we realize conething=of th1 rithcut'Yno ing

previous versions, we cannot today obtain a true perspective on

IIc rj'con co artist and moralist unless wo attempt to discover

hin debt to tradition; thindöäo we can assess his owncreativ©

talent.

There is a second reason why the otudy or tho traditions

within which the poet Is writing Isnecessary. It-le Impossible

to understand the full moaning ät the poetry unless one is « 'tee e Aa

{Y-w m

*^fi~$Lý .' w5'. 3>

acQuainted'with the unction of ccdixvul iconographic imagery

(I r It and form. Often 8enrycon 'haa rcorientated trsditional forza'by'

placing-then in a now context, by altering details. Unleso this

is realized, and the original forte ujdoratood one ninoas not only

ffcnrieonle essential creativity but also part or the meaning end

unity of the works in which they eire 'used.

Certain ccnclugiona have become obviou'a from studying the

poetry in connection with related cuteriul. Firstly, Henrycon

lo very' such 'a literary artisit, not a rustic, a -folk poet * or n

observor o1" nature. A1rost every detail in hiä poetry can be

le

traced to 'cone litte source known to me4iavsl Purope - for

Henrreon 1e not a Baottieb nationalist despite the ©horte of

certain modern critics to make hic so" But - und this ist the

second conclusion - tbouh details, forms, stories can be traced

to their origin we are not left with a conglomeration of borrowings.

Uenryaon ban welded big material creatively Into a sophisticated

and eatisX ing artistic and thematic whole. : hus Henryeon

appears not as the genial 8choolaaster charred with aainal

behaTioim nornnllj portrayed but as a £ifte4 und sophisticated

artist Sntcreated in fora as a weans of convoying a serious moral

thema, the trancitorineea and inotability of material pleasures

in this fleeting world.

Two comaents should be made about the title, Firstly,

I have interpretcsd the term 'so'sse material' very widely to

inoludo not only definite sources but also genre material-, and

formal criteria. 9e cannot be certain %that Henrpson knew the

particular ezanplees of these , Sores i fi,, havs chosen, but , that is

of no SIDyortance. 8eoondlgr. the thesis is concerned almost

exclusively with The Pabi gis and the phorter-pooxs, The Testament

p Gresseid and Orr. eus and hur being- mentioned, merely as

exemplary material and in a brief appendix. To include "them

would have been to put a large enough work beyond reasonable

hatte; besides# the type at study S have . adopted for The Fo-blllie

has been atteapted saccesefully for the other two long poems by

Dr. 3. J. Uarth.

As a text of iht F bl11I I have adopted, with occasional

emandatlona, that of the Bannatyne Manuscript as editod-by.. ,

111.

R. Tod Ritchie. Reasons for the superiority of this manuscript

are given by Professor John UaoQueen in his article on the text

of Henryson. I have adopted the titles of the poems given in

the Bannetyne text and also something of the order (starting of

course with The Prolog) which has more affinity with the order

of the Romulus tradition used by Henryoon than have the other

early versions. Baesandyne and Harlsiun. Three tables do not

exist in the Bunnatyne uanuaoript - for these (and for the text

of the other poe: a) I have used Wood's edition.

Editorial policy: In Yiddle Scots texte and a few Middle

English texts r have reduced 'p'. '3' and superscript 't' to

'th', 'y' and 'cht'. In all edited texts I have expanded

ampersands to 'and' without comment= but in manuceripts I have

transcribed myself I have indicated expansion of abbreviations

in the normal fashion. icy policy of underlining rhetorical

paralleling and alliteration Is explained on P. 69 no 1.

All references to Chaucer's work are to T he or ca of Osor

have , ei. Felle Robinson, 2nd edn. (London. 1957). ' I have not

thought it necessary to Give page rererenoes to this volute in

car footnotes. In Eeaeral any particular poem is olted once

only in the footnotes in each chapter. Thua, a reference to

Gualterue Anglicue' version of The Cok rnd the Jewell for instance

will be footnoted only on its flrat occurrence in the chapter

dealing with that poss.

I have many acta oi1edge ents to make: to tho typist,

Islas A. Turnar, for wading through innumerable paj.: ca in numerous

unintelligible languages; to the Librarian of the Univoraitica

IT*

Of itanchester and Cork who helped to locate material anti obtain©d

permission for its uoej to the Librarians wund statt of the

Cambridge University Library, the British Museum, the National

Library of Ccotland, the Edinburgh University Library (particularly

Urs C. P. Finlcycon, Keeper of Uanuscripto, and Mr. R. Chriotio)

for the use of their facilities and never-failing courtesy and

help; to the Univeraitq of Edinburgh for Ito grant of a

postgraduate studentahly*

The late Professor Wo Croft Dickinson advised on certain

historical points; the Rev. Dr. J. Bulloh cn rered an enquiry

on cedisval sermon material; Dr. D. J. Harth, LSicc I1. B. Lonergan

cz )ra. W. Byero Brown kindly gave pcr=laeion to use their

researches on Y. enryson, Dr. J. 17. Blench pernlecion to use hic

thesis on fifteenth century sermons; Rev. Dr. I. Brei and

cusgest©d the value of Dr. Blcnch'o cork; Miss ILD. Legge

helped with a difficult paragraph of Old Prenchj Professor

J. E. Butt gave advice on c4zinistrativo matters; Dr. O. K. Cohram

taught paleography in his inimitable troy; Professor Denton Fox

provided the atinulction of agreement on many Ucnryconienn matters.

Ulan Judith Dale and Ure Colin Howley have provided very

nccesuary cncouragc: ent throughout, and have constantly provided

a oo,. cv at lazy mind to rethink its critical principles. 1Sica

Penny Allen has carefully copied the final draft of the theeloj

indeed has made the procasa of finishing for more pleasant than

it would otherwise have been.

But car deepest thanks z: uot Co to Profeecor John Uac4uoen

whose ever present help, encouraZe ent and kindness have c4e

Ti

czy three years' stay in Edinburgh ßo pleasant and whose serious

concorn with the valued of ßedievnl literature opened up for me

a whole new area of interest and proved a conotant inspiration.

vi.

Abbrovitittanst

chiv8

ß. U. s British 1Susou

B. 11, t B1b11oth&Zue 23ationale

0 lit Dictionary the Older Scottish Ton e, cd. l. A. Craigie arä J� Aitken Ch cago näon. 937-

E. E. T. O. O. p. i Early English Text Society Original Series

Z. 6.9 Extra ßerteß J. s Joiirr 1 ot °nuliah encl. Oornaýýnia_F})ilolor. z

L1 tt s k__odern. Larcua s: l

Imo, yi 'odQi'i1 LanCucC'! izua tC"

If, I P., $ 12 '1 jrn t, an ^v te Rev er

17 new rrviich Dic ionn fiat iv Prin 1eo, ed. . A. H. Murrst' 15 vor,. xrord, 168b-1933)

&] $ __, $r2jgZ _t_inn, cd. J. P. U1&no, 221 vgls. (Paris,

E. £ j t11o2pc cal Qu, rt__, e gam= 8ý t Pey_2e o Fnpllsä Atudie3

ß. A. T. F. 9 Focidtd des An31ens Textes Francais

ZAP $ St dies In hilo2oQy

vii.

Table of Contento

PART li TnTZ Coau. L PABIu za

As Arguzent 2 B$ The 1 oditval Animal Tal© Collections

1. Fable Collections 7 li. Lo Roman do Renard 21 Ill, The cze: apla tradition 24

Cs The Individual Forks 1. The Prolog 30 li. The Cock and the Jewell 39 111. The L: oua and the Paddock 59 IV, The Tun L yia 74 v. The Dog the $cheip and the bitt 98 vi. The iolff and the Lamb 109 vi1. The Lyon and the Liouo 122 vili. Tho Cwallo, and Othir Birdie 140 ix. The Pox and the Cock 169 x. The Pox and the Golf 190 xi. The Fox tryed before the Lyon* 213 zii. The Fox the Wolf and the Cadger 239 z111. Tho Fox the Wolf and the l: ucba c1 an 255 xiv. The Wolf acrd ̀ the redder 274

Ds Conclusion 287

PART Its Tüw CEOT`' M=13

As Introduction 290 B2 The Individual Poems

1. Roben crd I kyno "

294 ii, aua Practyaiß'of-Ledecyne - 301 11i. Ana Prayer for the Peat 314 iv. The Gamont of Cud Ladeie 326 V. The Dludy Berk 2 3 vi. The Reasoning tietuix Alge and Youth 3 vii. The Praia of Alge 351 vili. 0bey and thank thy God of '11,11-

(The Abbay Valk) 355 ix. The Annunciation 361 z. The Thre Deid Pollla 367 zi. The Reasoning Ootuix Aigu and Youth 373 xii. Agania Haiety Credence of T itiaria 376

AP? E: DIX Ai Tho Textcent of Cro3Oaid and Orpheus and Eurydico 381

AF? MIX Bt The Cant of riyao Uon 386

BihLIOO IY 393

1.

PART 1= THE LORALL FAD I LLI3

Curely the most pressing proble= connected with lIonryoon is can

exhaustive study of the relationship of "Aesop"i the Isopets

and the beast epic to the s s. Only the most casual

attezpts have been uade to approach the oubject... It deando

a full-scale hunt through French and Latin literature...

Alpost nothing can be done in assessing Iienryeon until we know

this literary context.

Francis Lee Utley, @ llLam, xii (1951), 1394.

Z*

Argunant

Henrgson makes cxpllclt his intentions in iriting hin F"1111 j:

Thir nutia achellis thocht that be hard and tusch That bald the cirnall aueit and delectable Co lyis thair a dootrgne vyse enetch And full of tract vndlr a tenyeit table (Prolog, 15-10) R3cht as the c7noure In hie aynorall Ftaire gold with Eyre may fra the lode vale wyn Rr7cht sa under a rrble ttgurall A and centeace as asks and otter ! yn Am djlie dole thir doctouria of dyTyn Apert]y be ours laying can opplye Aid preue thane preching be o pocayye (The ut ed ro

IAO- , 2-94.

But be has rarely been taten at his word. Com- ntatora have

concentrated on one, or both, of two aspects. Come have been

attracted by the charm of the popular, naive rustio, a poet of

delightful and hnaorOU$ ani, al taboo, a poet With 'an innocent

delight in the world of the seaaea. i1

Henryson is a countryman; and his philosophy is no firmly rooted in rustle folk wisdom as In religious faith. This gives his poise and the sturdy independence of the peasant who does his work but is too stiff to bows In the ! able essentially democratic in its appeal - this independencl finds an appropriate means of expresalon,

One can of course neglect the moral preoccupatlona of euch a can;

they are too boring=3 or 'too ingenious for modern tuste'. 4 Indeed,

to mice this point of view to its logical conclusion, the poet hos

failed in what he has set out to do:

2. Kurt eittlg, (Edinburgh IM Loudon, 1958)o Po 44e

20 Ibid. p. 51. 3. U. Harvey Wood writes '... the moralizing, which is ednittedly

dull, is confined to the postscript. ' The Poems r . D4 of Robert tienrison, 2nd edn. (Edinburgh w4 omoa, 19,50)j, P. Xº.

4. James Kinaley, 'The Uediaval itakars', Sggtjj*h E2etrr Critionl t irv4.7, od. Xinsley (Lo4idonr 1955) " p" "

3"

hie fables usually have a twofold moral: one highly trananitarian and cociological - implicit in the tale; the other, the conventional noralitac, at the end. The latter o=etines comes as a surprise: in "The Taill of the Cok and the Jasp". wa sympathize with the cock to whom the jewel, swept carelessly on to the hidden by wanton dBmcolo, lo of no Interest - corn or chaff would be more useful. Yet in the ro rall ne the cock Is reprecented ne a fool scorning science, the Jewel as the love of learning, now loot because men are catisfied with riches and have no patience to seek it. It seems al at na if the poet has allowed his own colourful fable to run away with him, and is now returning to his duty. l

Henryoon's moral preoccupation does not co auch as might be expected infertsre with his humorous obrervation. In the e MIceg for example, it Provides little sore than shrewd marginal comment...

Others have attempted to see The Pabi11is an merely poetry of

political protest# a reflection of conteaporary social oonditionc. 3

Ottes allied with this view Is on incipient Boottish nationalism

which finds his humours or his settings, or. his understatsaents

or other aspects of his work epeaitiaally ßoottieh. 4

Now I do not deny that there is humour in üeni7son's poetry,

though usually it'is auch more sardonic than has been claimad, 5 but

I do wish to claim that it le at all times subject to the moral

purpose. Nor do I wish to deny that there are oontemporaz7

references in the work - largely making traditional complaints on

the nature of cam local as a means of persuasion to moral improvement;

1. Wittig, The 6cattl5h Testton in Literature, opt cit., po l; 0. 2. John Speira,

2nd edn. (Lo , 1962)9 p" 2 no . 3. Cf. Marshall W. ßtearns, Robert feni (New York, 1949);

karg Rowlands, 'The Fables of Robert f ewyeo ', The Djahgulig R* , =U (1959-6O), J91-502.

4. gittigIm discussion contains many such assertions$ of. also H. J. C. Orters on, 'Robert Henz7son', '4b een JnjjeXsityRev121, ui (1933-4), 203-12.

50 The essentially bitter nature of Chaucer'o humour hae often been eirllcrl. y overlookod.

4"

but I shall attempt to prove that fenryeon'e point of view is neither

specifically Ccottiah nor solely political - that it is basically

coral and religious rather than political, that it is basically

that of any well-educated European. For, it seems to to, it can

be claimed that Iienryson is a rustic or an entertaining popular

poet only if one is ignorant of the mediaeval traditions which lie

behind his works philosophical and religious traditions, traditions

of verse for.. e, Genres, rhetorical techniques, topoi. l To neglect

these is to neglect one of the main features of the poetry, its

sophisticated and conscious use of conventions, its revivifying of

old forces through combination into a new whole. ` For Henryson has

taken the fable form - before collections of much shorter and leas

sophisticated poems studying unrelated ethical problems - and by

expansion through forms, through detail3 made bis fables as a group

a study of man's essential animality, his desire for the passing

pleasures of this world. Much later msdiaval poetry is a study of

the same human motivation. Of course such a statement does not

imply adverse criticism for, in essence, poetry is an Image of

well-worn Ideas. In the Image we see the idea anew; it becomes of

added significance, new relevanee. 1

1. For topoi see Ernst Robert Curtius, Ser"Mr6l and ; AtIA 6&M tr. Millard R. Trask ragen Eier es XJüº , Middle yew Yorict 2953)1 the ooncept is defined on p. 70. In aany wars the whole of this thesis will serve as further evidence for the central argusent of Curtius' invaluable book.

2. To prove q argusent I shall constantly be forced to quote, eosetiaes at length, from previous uses.

3. Ueny critics hale com : enteil on Henryson'a addition of detail; It has not invariably been stressed however that the added detail usually helps our understanding of the moral Issues under discussion.

4. The stress on the Image (the figure) is iicnryson's owns see Denton Fos, 'iairyson sa es', E,, T,, U. # xxix (1962), 341 and note. It will be noticed that oy attitude to. l: enryson's poetry is vory oisilar to that expounded by Professor Fox In his article.

5.

lie cannot of course see how Henryson has treated the table

form until we discover just what he has taken from tables written

before him. This entails a hunt for sources and analogues through

the whole corpus of medizval Latin and vernacular fable literatures.

The question of flenricon's sources has been examined by three eaholare

before ne. 2 The first, A. R. Dieblerj3 was certainly the most

thorough. He noted many of the important texts and several errors

in source ascription would have been avoided if his work had always

been exaained. 4 Gregory Gmith's works showed little advance but is

generally accurate an far as it Goes. It has been the only

discussion of Lenrycon's source naterial generally available.

1.17 method Is rather similar to that of ß. J. Harth, Convention cnd C In the Poetryof Robert Ne nAS "ßCU . Mg an unpublished ci esertction for the University of Chicago 957).

2. Apart from the three general, discuesions to be mentioned the following should also be noted: Janet U. Caith, The ErvaqA

a T4 Cco%g LiteratMEg (Edinburgh and coon, 1934)o pp. 7ö-U1 -a brief discussion or the relationship or the fox tales to Le Roman gg u; Charles Elliott, 32bert Penrye2 t ! QeLall ztord. 1963)t pp" 129-30 -a very brier account or the relationship of the '' to the medieval animal tole traditions; several discussions of the sources of

t is -- see z*y discussion of that r able; . lossow, } England 1214 ZU ; 2bZ 10 9Z a 17 dssa: nterauchu en und Texte aus aer deutschen und englischen Philologie hg. A. Dranl, Gustav Roothe und E. Ccholdt, Dd. LII, Berlin, 1906), pp" xliv-xlix -a brief account, based largely on Diebler, stressing, b. owever, üenryeon'a supposed debt to Iydgatei Mary 1.3. Loborgan,

or 2zj s, an UApub11*t lea M. A. thesis orte UniversiV o cork - Miss Lonergan sets out with

much the sale aim as my own but her knowledge of the nwdieval fable tradition is ©o limited (she does not seen to know anything of the Latin tradition) that her work cannot be said to add to our knowledge of iienryson's sources or methods.

3. Eearlsonea akf1d Inaugural-Dissertation zur erlanzung der khiloso achen Doctorwlyde an der Universität Loipul halle, 1885).

4. neo ay discussion of the sources of Jie Pox_the Wolf and the Cb1U1: v PP. 239-40.

50 jhe E21 . ma of Jobe t itcni ,3 vols. (Q. 2.13. Pirat Cerise,

1906-14)t 1 i9 , zziz- v.

0.

Richard Dauarnl has recently argued that fienrysoa was indebted to

folic tale traditions. Evidence of the nature of folk tales In

Dedi val times is, however, notoriously unreliable - there can be

little certainty that any given tale exinted in folk tradition

then, t 't it has not entered the tradition fro= an originally

written aource. 2 Bauman provides but two exam-plea of folk tale

parallele which he claims to be closer to ilezuy8on than written

oourcec. however, for both those fables, - Tr, FQ t 2d before

the Iyone and 7h' Fox, the Wolf and the Cndpe - he has overloo3: od

or un: iereatimatcd the importance of significant litererj enaloguoc.

I shall diacuca the problems in considerably more detail later.

Now while Diebler cnd Cuith have found many of the Moro obvious

parallels for Uenryson's fables there are still icportant cnnloguoc

to be pointed out. Deeldee, they have not exsm. tned in detail dust

that the poet has taken from his sources. An a result the extent

and nature of additions made have not been fully understood and the

character of the pootrf has tended to be distorted. We must

discuss the work poem by poem but first it is essential that we

examine the nedisval table tradition in order to see The Fabil e,

and their sources, in context.

1. 'The Folk tale aad Oral Tradition in the Fables of Robert He. 'uyson' . Fabel . vi (1963) " 10824.

2. Ct. the argument over the sources - rolle-tale or learned of L E2mM

-ds, 11IMEJj see p" 21 n. 2.

7.

131 Tho I! edl val Aalaal Tale Collectioae1

(i) Fable Colloctiono

The place of origin of the fabl© form - ahother in the Enot

or in Greece - cioca not concern ua hare; nor do the naturo and

Corms of the original collections. Our interest begins with the

translation by Phacdrus12 in the first part of the first century

A. D., of a Greek collection of 'äcop' into Latin verae. 3 The

collection coeaß to have been emoet completely unknown for oevoral

1. A large amount of this chapter la necessarily baaod directly on the work of other scholars, particularly that of Ldopold iicrvieux, Gaston Paris, Julia Bastin, R. Boacuat and J. Th. Welter.

2, p for Phaedrus see 0oanDn, U. Cary etc* ed. (Oxford, 1949)t a"v. Phaedrus .

3,0 ed. I4opold tiervieux, b ' u. etc tua 'a It r 1n air "e. ro et e arc s

ausut, 2x1 odn. ,2 vols. Pars, 19 , Lerc:. rtor cited as crvioi. x i end ii - lit 5-8l; a useful text is that of J. P. Postgate, h. -A-4 rnhi2lnA

i/, 080131nn cu! T: ico ai Pc tt P l0 eD ce 110V 'c t1 bar ptorum Classicorum tiibliotheoa Oxonians s, Oxford, n. d. )f

C. Zander, ý, h_ý e rua : QIut Pab novas XXX (Acta Cocietas iiumsniorun tterarum Lundene s, 3i Lund, 1921), attempts, as others had done before hin, to argue back to the original metrical Phaedrian text of thirty fables now missing in their original form but existing in later prose recenoiona. For an English translation see T. Riley, 7JO f,. qMgAA4f 2C

ne nrd t Pnb2 r Phi literally yttruns utea into 2aglish prose (Loadong 203); a bilingual text in the Toob Clacoic Library is promised by Fon E. Perry (A a, i [Urbana, 1952j, xiii). For manuscript details and story see Eer leux, 1' 5-239. I mane no apology for the constant use of feryicuz work in this thesis. Its deficiencies are many and serioust see Gaston Paris, review articles, JcItIM 16 ý. aL. anjj, 1884, pp. 670-86; 2685P pp" 37-51; 1899. Dyo -26j and E. Mall, 'Zur Geschichte der mittelalterlichen Fabelliteratur und inbesondere des Ueope der Marie do France', JeltsobXjOgt F, ix (1885), 161-203. Nevertheless 11oryleux' volumes remain the only available text of several medlaval fable collections and his discussion of the history of the genre also contains much of value despite its facile solutions to the many probleao of the ! illations of the Roaulus derivations. It iß to be hoped that this will be superseded by the fourth, volume of Ben E. Ferry's Asovie which be indicated would be 'an essay on the history of various traditions' (or of , p. vii).

8. centurlee dur1nF the Middle A. -es1 until rescued from oblivion by

the French scholar Pierre Pithou in the oixtecnth century. 2 But

1attatiOas were OT license importance. The closest# now called

the M &ar äsop, to a prose version found in ca early eleventh

century nmuscript copied by Ad&nsr of Cbzbctnnoa. 3 Another

imitation, the 4sopus ad Rufus, now lost, 4 see to have formed

tho balle for a collection known as the Aicsesnbourg Atop, found

in a tenth century rcnuscript, 5 and - which is of tar greater

importance - for the original goaulus collection6 fron chich

derived, directly or indirectly, partially or coapletely, all the

well-known aaiinval table collections. The proloEue to the

original Roauluc, and its direct derivstiono, In in the fort of

an epistle trou a certain Romulus to bin con : iberinuc. F. onnlus

clairc to be sending hie son from Athens a collection of Asop's

fabloa which he has translated from Orcek. Come later fabultate,

for instance Marie de Prance, 7 thought of him all a Ronan eperor

but there can be no certelntj of hie identityp or even of his

-"I

I* Ninth century me=ceripta are known (Herriaux, 1,80tt); in the fifteenth century, Iticcolo Perotti, Archbichop or Cipontua, copied a more conplete collection than that of the ninth century LBS.

2. Phipe1ri &MS. Lib. rti... abu1aj3s iSoRl Libri V (1596).

3. od. flerrieux, ii, 131-56; see Hervieux, 1,242.66 ar4 4. Thiele, IstaInlegba ä Honda bXJrtý'dJ4s&s-X a (Codices Greed at Latini tographice

pint , Lupf ezentu2 III9 Lenden, 1905). 4. But see Hervisux, 1,314-27 and Gaston Perle, Q'ý, ý Agg

eint, 188t+ß pp" 78-85 for discussion of its contents* name of the collection is taken troa the dedication to

a certain Rufus -- the dedication is copied in one of the derivatives, the W2ssenbourg Asop and adapted in the epilogues of seTeral other collections.

5. ed. Hetvisuz, lip 157-92; sec also Hervieuij II 268-327 sad Gaston Paris, : journal Coe 8stºants, 1ß8t4, pp. 6742.

6. The original text seers lost but of. 0. Thiele Z002 U-91us u di P sa-Fs n es ,re er " ext alt Kommentar und e No teuren ntorsuc un, gen ileidolbcrC, 1910)

79 Prolo. rfit; 11.12-16; Mario do Franco, Fab eels and od. A. (wert al la R. C. Johnston (Oxford, 1942)o p. 1.

9.

eziatence. All that i© known 10 that tho adtptatlon was male in

the tenth century or before (the earliest existing manuscript of

a derivation to of the tenth century) and that it to in nnsenco

merely a prose reworking of Phaodrus" originall perhaps at ttzo

resoves.

The relationships between the direct and indirect derivations

of the original Roz. "alus have never been satieractorily determined

and euch work still need be done in this field. The following

discussion is thus `err tentative in its asauiptiona of filiationu

but should be adequate for the needs of this thesiso

a. Prone Derivations of Romulus

Of the prose derivations there are three main groups: the

full-scale derivations and expansions, the abridgements, and thoao

versions which contain certain Romulus variants togotrer with rrbles

fron other sources.

The most widely known or the full-ocal© derivations ie the

so-called vulgate Ro ulua, 2

a prose compilation of ©lghty-three

tables existing in cix ma ascripts rsnging in date fron the tenth

to the sizteenth ccnturioe. 3 It oceca that the first edition was

published in Ulm, about 1475, by Dr. Halnricus 1teinhövel; 4 it fas

reprinted several times in the next twenty-five years. 5 The edition

1. uervieux, 1,303-14,, 2. In his tirat edition (Parse, 1884), 1,266rf, 1Iervieux d1scutuod

this collection assuming it to be the oritinal lonulus. - hence Its ncme. Gaston Paris, Journal den lnvanta, 1834, pp. 680-1, showed that i: crtieux' aaauapt on trag untenablo. Thia the latter hltcelf admitted in his second edition# lt 330-2.

3. ace Hervieux, It 334-60; ode Hervieuz,, 11,195-233 and Thiele, Der Zsteinicche Zaov derv Romur, Sit-.

4. Cw 1vß, hg. Hermann Osterley (Bibliothek des ttoraricchen vereine In Stuttgart, CX'J'II, Ttlbingon, 1873).

5. ace Hervicux, i, 360rr and George C. Keidel, aH lO6 Fab, tore, a first book of reference forte period and na A. D. 15C)09 lot racciculo (Romance end Other 6tudice No. 2p Baltitoro, 1896); Keidel lioto twenty-oix editiono bofore 1500.

10.

co3priceo not only the fables from the vulgate Romulus - together

with the vorce recension by Oualterus and a Gorman translation -

but also fables from other sources. Book IV - there are four

books of about twenty fables each in the mrnuocripts - anise

Pinie quarti libri Eiopi viii ingeniosi, nee plurco eluo libri

invenluntur. kulto tauen Blue fabule reperte aunt, quarum plurimo

cequuntur, ut in procesau videbitur. Book V in entitled £ztravcgcnteo

Esopi Antique sequunturj Book VI, Soquuntur /lique Esopi Pcbule

retie Translationio flemicii; Book VII, Aviani Pcbulo Cequunturj

Book VIII, Ex Adelfonso at Poggii. Avionusl (fl* c. 400 A. D. ),

a Roman fabullet, wrote forty-two fables in elegiacs based on the

Greek tabloc of Dabrius; 2 the collection was known throughout the

Biddle Ages but did not attain the popularity of the Romulus

derivations. The Italian humanist Ranutlo d'Aresso, named here

Reaicius, translated fables from the Greek nsop In the mid fifteenth

century. 3 The apostolic secretary Pogglo Dracciolini (1381-11i59)

collected tales which Jacob delightfully describes thust they are

soatly tales of a kini which we do not tell or print nowadays;

or which, to speak more frankly, wo only tell when we are young and

only print privately in United editions of 1000 copies. ' flut the

1. see Q ordQ1aao 1ca1. D1cttona Mo vrp, cit., e. v. Arianue.

2. ode and diecussod L. Iierrieuz, ^' e gJJ2 '. A s'A Is ctvA u1tn:. 9

-1894) ed arr eux 1.

3. Hervieus, i, 295-6. 4. The Prb e4 ne first printod by T1i111t Caxton in 1484v

2vols. othölus de Carebas Cries, London, 1889), 1 cüistory of the £sopic Fable) # 200-l. Cf. ' Richard H. Wilson The Po isna in Caxton'n jgg2glp LSL 1, xxx (1951). 348-52*

1l.

books of interest to us, containing versions of fables used bi

Asnryson, are those comprising fables of Petrus Alphonaus and the

Fabulas Extravagantes. Petrus Alphonsus, a converted Jew living

in ©pain in the early twelfth century, translated Into Latin curtain

fabliaux end fables from the least, among them a version of ä c., 9

the wolf eM the ITu" The work, the D1ec1pIln ericnliD,

acbleved a wide popularity In later aenturies. l The Fabulas

Extravagantes contain yaw parallele to Marie do Prance' o collection

and to the Roman de Renard cycle both of which will be diocuaaoci

later. But for the particular fable in which we are interacted -

the Vol! cM the Ved4sr - there are but two parallels to ©teinhövel'o

versions as incomplete variant in a British Museum manucoript2 end

Baldo'e reworking (c. 1300) of Jean do Capoue'o translation from cn

Eastern etory. 3 Aa I have alroMY-Centioned Ctsinhöwo1'o collootion

becaze widely knoom. Jullen Uacbo translated it into French before

1480 and froac that version Caxton translated his book of the evbtyl

hi tor-Tee fables of Feoi s (Gostagynotre1 1464)0h1 I shall attonpt

to prove Uenrgson's indebtedness to Canton in mit diocusaion of the

two fables mentioned above.

1. Goo, for details, T olvii, 527-36j %. 2»D. Lard 0 ýt

vols., Vol* 111, by . Herbert, (LaWone ,1, 235tt; and the introduction toi 1, dan älteste Novellenbuch des Liittel era, g. 'ono 1111ka und Werner SUerhJelm (Gamalung Uittellateinieoher Tezte; l, hg. Alfons Bilka, Heidelberg, 1911).

2. Md1tional 8166fr. 41b-Z2b. The manuscript is of the twelfth contur7.

30 od. L. Hervieux, Les Pa -Ullet Lantln4 g g=19 looI 20 ä'Auiu ia, a. «. %iä is IP1w 1.. rwv era /. . -ate A- /=ar. waaý -6 0-- 1. m

traris, ßn99), - tnerartier cirea as Iierrieuz, T- pp" 3to-7v" Goo the discussion of translations from the East pp. 3-751 also Gaston Paris, review article, Jo il deg, r� iits, 1899, pp* 201`266

4. ed. Jacob, The Fables or k2o2, oPý___ Sit., 11 (Text cz4 ßlosacry).

22.

A second full-scale prone derivation ierthe Vienna-Berlin

Ronuluo contcined in three related fourteenth century nanueoriptc.

The Florence Romulue, also in a fourteenth century manuscript# iß

probably also a derivation or the original Ronuluc. 2

The three derivations so for mentioned are in ©cny ways very

close indeed. I shall illustrate this, and also ootcething of the

undeveloped chcrcctor or the fables contained in then, by quotation

fron each of o typical fables also contained in Henryson, The Wolf

Ent-She . Vulgate Romuluaf

Aeeopua de irnocente at reprobo talem retulit tcbulcm

Ajnus et lupus aitienten ad riuum e diuereo" uenerunt. ` Eurcum bibebit 1upues longeque inreriue agnue. Lupus ut egnum üidit, sic nits : urbaeti aiht cquez bibenti? agnuu patiens dixits -4uoaodo tquan turbeui tibi sue a to ad me decurrit.. - Lupus 'non crubuit ueritati. Maledioia hihi, inquit. Arnua Qit; Ron ©cledixi, Lupus dixits Ergo pater tuue reit ente sex menses, -et ita tacit wihi. 2: u=quid oEo natua tut? sic Lupus improba tauce dixitt" Et -adhuc loqueria latro? Et ctatim so in sum iniecit, et innocents uite& eripuit.

Nee In illie dicta eat tabula qui hoainibu4 calumniantur.

The Vlenna-Berlin RosulasS

Do innocents at reprobo Altaue=at Lupus sitientee ad quondam-* diuerso Yenerunt riuua. , Superaus bibcbat 'Lupus, ", . Agnus sutea-interius do. riuo--bibobat. {4 Lupus, ut Agnus}(oic): Yidit,. sic alt: -Cur-turbasti . aihi aquaa bibeatl? `Agnus paclena sits Cuoaodo. aquan turbsui tibi, quo s te; ad no decurrit? Lupus non erubuit s endaciun ppreterre veritati" ; Naledicia°(dicit), #inquit, mihi. bus -nit t. ý, Von, Maledioo rerun dioens. _- Lupu© dixit: ergo at pater tuus: suit hic, qua ants

I* Two or LYiäý ýß. ýärö dLt 1.2iy tiorilcux, 11, Z417-? 3; öne byý Thlelej eai is e Acs deR muluo, op. cit. * soo also. üaryieux,.. , 9d.

2. od. äervioux, ii, 474-512; ! or deta11a s. e ° üervioux, `i, 699-7+07. Y

3. üorvlcux, ' 11,195.

IN

9" Benses (qui) aihi perl awdo fecerat. Aius alt: Ihusluld ego natus fui tuna? Oloque Iupuo inprobs facie dtzitt Zt While loquerlo, latro? Ft statim inailult in sum Be Innocenti vitam abetulit.

Kea de Lilie dicta tabula eal qui non lu3to calumpniantur hoaines.

The Florence Rozluat

Esopue do innocents Aguus at Lupus attiente" ad unua riuum e diuerso uencrunt. Cursum bibebat lupus longeque interior agnus. Lupus ut agnua uidit, sin sits Turbasti aihi aquam bibenti. Agnus patienter dizitt Quoaodo aquae tibi turbaui, quo a to ad as docurrit? Iupue non orubuit ueritati dicena: Yaledicis aihi, intuit. Agaus sits Vera son malodisi. Cui Lupus: Ergo at pater tuus Cult ante sex juefBe" blot at its focit mihi" Agaus nit: Nuzuid ago natue tul? Lupus improba uoce dixits St adhuc loqueris, latro. Et static Be in cum direxit t innocents uitan eripuit.

Hoe in 11lo[sJ dicta est tabula qui hoainibua calumpniantur. Et qui do salute alterlus gala cogitant non ettugloat panam* 2

The rourth full-ocalo derivation, the novus or iiiiant93

existing in nanuncripta of the thirteenth and fourteenth centuriee, le of a oomcwhat more expanded character as can be eocn from Ito

version of Tom n thhe LjM.

Eaopue Is innocente at reprobo talea retulit tabulsa.

Cuodan teapots AEnus at Lupus ad vnum riuulum a diuerso, causa potandi, veneruntj sod Lupus superior ad illam partem, Ynde Huron'currebat, bibebatj Agnus fero inferior. Lupus, vt Agnum vidit, sic dizisse lerturi Guars michi perturbas equam bibenti at lutulentam can ettiois? Cui Agnes pacienter respondits Cuooodo aquae pertubares tibi quo a to ad ne deourrit? Lupus non erubeacens veritatit Maledieis aihi, inquit. Ad Doc Agnus respondene Non aaledizi, alt. At contra Lupus alt: Equaliter xihl pater tuus

1. ti. rvi. uu, lit 417-8. 2. Herviwac, lit 475o 3. ed. Hervieux, i1,513-148j for details see lierrisux, i, 708-18.

The name of the collection to taken from that of its firnt editor, the early eiChteenth century scholar, Hilant.

149

ants sex manes bibenti do eodem tluaino Secit. Cul Agnu© responditt Uuquld tuna natuo eram? Tuna Lupus inproba tauce irntus lnqultt Et odhua cudaotor loquerio, latro? Et ototim in eum dirigena cureua, Innocenti vitas arripuit.

Hoc illon tangit fabula, qui iniquo aliie calumpniantur, vt nut ritun out pecunlan vol otlam vtrcia ue occipiant.

Two verce recensions were made of the Romulus of Nilsnt. 2 Horvieux

and Varnks have shorn that the AMglo-Latin Romulus also derivoo

partially frog it. 3 I shall discuss this collection when

describing the Torsions of wised origin.

Three abridgements exist - whother they derive fron the original

aooulne or from one of its derivations is a problem not yet solved

satisfactorily. In the seid thirteenth century the Dominican

Vincent of Beauvais compiled bis four encyclo; ediat Ovecg2i

i etor ele, 2eeu__IMB N fusle, 229991MYorale and SDeculus Doatriý, _ Hale.

In the first and fourth of these he included twenty-nine tables

based closely on Rosulua. 4 The-works achieved widespread popularity, 5

the first, with its fables, being translated into French in the

early fourteenth century by Jean de "Yigaay. 6

The forty-five fables in a fourteenth century manuscript in the

library of Corpus Christi College Oxford7 are considerably sbortened

1. fervieux, 11,514, 2. eQ. Uervieus, 11,653-7571 for details see 1! crvieux, It 801-1y. N Nerriwz, 1,722-4; K. Warnke 'Die Quellen des Eeope der

Marl* de France, ' FOr6&ghqaM Mir, r2m. V Phlj 1. Festgnbe tr üersann Buehler fl e, lgý!

cam pp. 161-2&.

4. ed. Hervloux, lip 2,34-459 5. Uervleuz1 1,436tt. 6. Cr. o. E. Snavely,

2iLt dcV timoret . 7. ed" Hervieuz, ti, 246-611 for details see ffervieuzt i, 461-3"

15.

from their original. As an example one mur cite Tho WQlr-! U 1 the

, the original of which must have been very close to both the

vulgate Romulus and the Vienna-Berlin Romulus to judge from their

similarities:

Quod 1nnocene as lun&ere non debet ft%robo. Agnue at Lupus sitientes ad rluun e diueroo venerunt. Cureun-bibebat ? upue, longeque inferior Agnus. Lupua uero, fingen eibi ab Agno aquas fuisae turbatam, nulleaque Inds racionea suecipiene, segue lamm pridea a patre euo tails sustinulsse aftirmane, irruit in bnm et ocoidet. Sioque Innocenti vitam oripuit. l

The Borne Rosulue, found in a fifteenth century manuacript, 2

contains only thirteen tables none greatly'developed from the

original] but there are so=e interesting and unique variants

which will be discussed when relevant to individual fables.

Of the version of nixed source there are two of considerable

importance, three of less. The Anglo"Latin Romulus is no longer

in eiistenoe but something of Its nature can be deduced. Marie do

France, writing of her translation, tells bow is tints Willase ... lt'entreais de cost livre faire E de l'engleis an romans treire. Zoopi apel'uz cost livre, 4u'il tranelata e fist esorire, Del grlu on latin Is turns; Li reis Alvres, Quo nut 1'sma, Le translate puis on onglols E eo I'ai riaee on tranncels. 3

I*' Hervlanz, it 246. 2. ed. iiervimxg ii, 7,58-62; for details see liervieus, 1,816-8. 3. epilofue ll. 11-18, cd. Evert und Johnston, OD. c, D. 62.

Karr a coaplete fables (102 is all) have been i ed by 8o de - Roquefort, Egillge On do g2 vols. (Paris, 2832)p-119 59-102 . as France (Bibliotheca Norm nice, Denke . lor 2ýorn so er teratur und Sprache hg. Hermann Guchier, V1, balle, 1898). It is generally agreed that Marie was wrong in attributing the English

ranalati to Alfred= a few U93, read Henri and fierriewt (i, 720-1)p surprisingly, attributes the work to Henry I.

16.

Prom this English version too, as Oaston Paris has showntl has como the Latin translation known as the LBG derivation or the Göttingen

fragsents. 2 The fables are in a form considerably extended from

the original Romulus. Thus:

Lupus at Agnus slaul do rivo biberuntf led Lupus arat ix Parte cuporlori at Agnue In inferiorl. Lupus itaque, cum haustum tecerat, eroxit se et dixit cd Agnumt Tu qul lrnam in decepclone portae, senper seta ottenais insiatis. Agnus vero, ad hand vocen trepidue, timido respondit at humiliters Do+aine potent at tresende, quarr taue aspen siohi loqucrlo Innocenti? Quas enim ottansae posse= parvulus ego tibi interne? Et Lupus alts Tu turban cqucm, quod indo Lustare non poaeun. Reopondltque A4tnusi stirs aunt que dials; quia, cum tu ale superius at eo interiua, quo^odo posaun tibi aqucn turbaro? Gen occasions adversua me queris, about qui vult ab caico recedere. Tune ergo e=aaperatuo lupus nit iterum: Tu ainia (ale) os garrulus at lurgia aeoua nultiplicare prommis, $lcut pater tuua, quip nondum transactis sex mensibus, do Bodes In hoc loco siebt servivit, quod in to aerito rcdundabit. Et nit micor l gnus our sla In as Illas patris oulpas refunding qui nondua natus eram? Tuna rcptor alt= ©ic miohi rospondes In omibua, at roolamare non cessas? Irruensque in . aua, guttur clue crudeliter apprehendit at fines tacit ferborus.

L'oralltas. Sic tyranal taciunt: cum innocentum res Vol aortas ouplunt siv* lusts give iniuste Oos spoliunt at opprimunt.

ý

From Marie's collection c4 the ßättingen fragments we have evidence

of the nature of the English version and thus probably of the Anglo-

Latin Rosulus which formed its source. The collection, certainly

coaposed before the last decode of he twelfth century when Uarie'e

1. Jod d_s,, O*y , 1885t p;. 42-3. 2. Manuscripts, of the fourteenth and fifteenth centuries, cre

found in London, Brussels and 08ttingen - also in Treveej the first edition was taken from one of the Göttingen ELF3. (ii. Oeterley, a Asopi9abo Tabe in z tts er er n, ;, -,; -, cd. Heryieux, Sig 564-6491 for details see Herrieus, i, 7"-93"

3.11crrieux, lit 565.

17.

translation was eine, contained more than 230 tales, so" trog

the Roaulns of nilant, some related to the fox tale end fabliaux

traditions; there were also a few from other parts of the Romulus

tradition not found in the Romulus of Nilant. Of the Anglo-Latin

Romulus a more fragment, the Romulus of Robert*' twenty-two fables

in all, remains. Before we leave the Anglo-Latin Romulus and its

derivatives it should be eentloned that Zydgate's leoPosFabu ee, 2

a fifteenth century collection, comprising a prologue and seven

tables in rhyme royal, is also attached to this tradition.

With the work of 04o of Cheriton, 3 an English priest writing

about 13w. we begin to move away from the direct fable tradition

into two other genres which we shall discuss lateri the exempla

collections and the Roman de Renard cycle. Many of 0do's fables

contain moralitates giving specifically Christian teaching; and

of the seventy-five or so fables making up the collection only

about fifteen can be directly related to the Romulus tradition:

most are soralised incidents from the Femen de'Renord or beaticry

stories. The collection achieved widespread popularity. z

The sized Ronulus of Berne#5 existing in a thirteenth centur7

mr. nuscript, contains shortened versions of fables from the original

19 so called after its first editor A. C, Y. Roberts Fables iniditsi mm AIIW- ®0

2. Volga karts, 2825)9 iii 547-62; also ed. kLsrrieuz lip %9-63; for details see lervieux. i, 763-75 and Gaston Paris,

r 1885, PP* 111"3" 2. od. ä. N" äacCrackent 114 VIROr P2131 2f j2hn 1 ii.

8. Qula j (E. E. T. """ 1920 7 99.

3.2.. _ iierti? U. lag gull stem I&Ijas deg isle sibg,, 2,,, a

Varis, 1139t) - herearter cited as Uervieus, ir. 4, fieryleus, iv, 46-77 Mentions twenty-six manuscripts'from

libraries throughout Europe. 54, ed. Herviouz, ii, 302-15; for details see iiervleux, It 468-71.

18.

Ro. ulus or one of its close derivatives, and other fables which

have parallelß is the Aag1o"Latin Romulus and Odo. Ths collection

of John of Cheppe', Bishop of Rochester (1352-60)#' is paz trolly

based on that of Odo though there are important difference® betacan

fables existing in both, 2 and other sources have been used, anongat

then a Roaulus collection. The Munich Roaulus, 3 from a fifteenth

century sauuscript, coaprisaa forty tables, twenty-titre copied

from the vulgate Romulus ,: fifteen 9 more fully developed, parallolled

by tables is the Fabulae Factravagantoso

b. Verse derivations of Roaulua4

The collection known an the Romulus of Oualtzrna Anglicus15

perhaps written in the latter half of the twelfth century, In in

slsgiaas and ooa; rises a prologue (original to the collection) and

sixty-two tables taken almost entirely from the first three books

of the prose Romulus. It became the most widely used of Latin

1. ed. Horyleux, lv, 417.503 for details see Heryleux, lr, 161-70.

3. ed. ferrieux, 119 262-302; at. H*rTieuxp Is 4C4-89 4. Again I shall not discuss the particular version or Roaulus

from which the derivations were mule. Hervieux (1,1e72-5 and 673-4) attributca both to the vulgate Romulus apart from the few fables not occurring there but his evidence seems very flisayy and needs further substantiation.

5. ed. U. Foerster 'ý r--Y (Altfrsnsbaieche Dibliothek, V, Keilbronn, 1882); hervieux, lip 316-82; K. UacKenzie and W. A. Oldfatrer, -, 7p (University of Illinois utuciiea in Language en Literature Vol. V No. 4, Urbana, 1919); Julia Bastin, Al O&njrg3 Igo as uas n

sand 2 ii

vole* - "ii,

A7-66. lI hhaave) used

hems ter Bastints text

of Gualterus througböut. For detailo see Dastin, lit 11-V1119 The collection was for long known as the anonymous collection of Nrvelet for it was first edited b I. I. Z: eveletus in bis krt_2oloaiag Xgo,, ica (Frankfurt, 1610. iicrvicu: (see i, 475-95) found a few manuscripts attributing

It

to one Gualterus Anglicuej be linked the nano with Gualterue Anglious, chaplain of Henry II of Fngland# tutor of William II of Uiciiy, later Archbishop of Palermo. Gaston Paris disputer the attribution (Zoiimoldes pry' " 1885, p" 39) and aa' ocholaro have agro with n;

uz thd colloction hno become generally known an the Rot1uuluo of Guciterue licus.

19"

table collections in red val timas; lervieux records, more than

a hu *i ma=acripta containing the fcblea, l and trom 11473, when

the collection was first publißhed, up to and including 1500 there

varo, according to Eeidel, 2 fifty-nine oditiono. Henryoon

certainly mrdo use of It an I shall prove later. Two French

veraiono of Qualtorua were mule, one of which at least Is of mat

inortsnco to us. The Ioopet do Lyon, written in the dialect or

Francha-Cont6, cxisto in one manuscript only, of the thirteenth

century. 3 Thera are a proloi; uo end oixty fobloo, cone of which

are considerably devolopo3, or chanced in enphasie, frog ßuaiterus'

veralon. In ccvorsl places the Inoyot eoeno noaror to licnryoan

than any other text though it la difficult to inagino how the Ecot

could have knnn it - the lack of rnnuccripts uugoots it van not

widely dispersed. Icopet 194 a compilation or the aid-fourteenth

centuryp appears to have been euch more widely known. A prose

recension, known as Ieopet 11125 exists in a fifteenth century

maauecript.

Alexander Neck=1e goyi, 5 x, 6

another version is oleZince

of Eooulus, also gcyo rise to French translations, Ieopet II do

1. 50.3-CO 2. 2. A N! Mqc1 or Ieop Feeble Litor etu , Meello. 3, ed. Focrater, j-, c Bastin, li, 83-197;

for detkila aoe Dustin h. ed. MacKenzie and Oldfathcr, j M, )mt-Avj! 2npgtq opt_ cit. j

Bastin, ii, 199-348; for deta ils see busting lip XXYx-)MXVIII. The collection also contains a Fsonch trrnalation or lvieruo' fables, the Avionnet.

50 ed. U. P. brush, 'Yeopot in of Paris' h"t. Ar xxüv (1909), 194-546; Dustin, lit 385-4201 for dotaila ace Bastin, it, xx1 Ix-xxxx-.

6. ed. Uerricuz, lit 392-416; Ba stin, i, 1-30; for dotailc see Bastin, i, IX-XII.

Co.

Paring' and IEopot de Chartres, 2 both probably made towards the and

of the thirteenth centur7o

14 od. Basting 1i 31-1111 for details see Bastin, It XIII-XX.

2. ed. Basting i9 113-811 for dotailo see Basting It XXI-XXVXI.

21.

(i1) Le Roman de Renard

ie Ronnn de Rena ,n vernacular cycle by various authors,

appeared in Franco towards the end of the twelfth century end was

continued into the aid-thirteenth century (approximate dates

1175-1250). 1 Its occurrence provides further evidence of tho

interest in cninal atones at this period - we have alrocdy

discussed the versions of Oualterus Anglicus, neckhan, Vincent of

B©cuvnie, Mario do France and Odo of Choriton and the Ioopete.

The oources, 2

apart from the Ronuluo, and Fettun Alphonsun'

Piociolina C1 ricnliu,, teen to have been the Fcbn2lg Cn tlyi, 3

a tenth or eleventh century poem recounting, under the Guise of an

aalmal story, the attempt of a conk, uncertain of his vocation,

to leave hic monastery; and the Yee engri, 4

a long Latin poem

of the mid-twelfth century which shown the wolf engaged in mangt

of the adventures also described in Le Roman do Rem. The

1. a useful vunaary of what is known of the cycle is to be found in R. Descant, de Renaffi (Connnissance des Leitres, 1491 Paris, 1957

2. Cf. L. Foul tn (fiblioth4que do 1'1cole 64 2 dew Hautee

nudes, c ences s orlques at Philologiques,

fase. 211, Paris 1914). Fohlet ouoceenfully combats the arguments of J. arias, neinhart Fuchs (Berlin, 1834), and L. 8udre, Igo Soutggs du N! MUA do Hellar , (Parlo, 1892) who attempted to find the origin o the cycle in folk tale analogies.

3. ed. K. Strecker, E. gbveja ua (C. crlptor s Rerun rn an carum in usun Sc arum, anover# 1935)"

4* ed. Ernst Voigt (Balle, 1881+).

22.

collection as TO have it comprises twenty-six branches - about

33,000 lines in all - telling varying adventures (oometimes

varying versions of the sae adventure) of the Sox as he tries

to outwit all the other animals, particularly the wolf Isengrin.

It ezisto in three manuscript traditional distinCuishod by the

nun or and order of branches contained and by the wady in which

these are linked.

Later works in the Renard tradition often oonprieed retellinia

of the earlier stories though usually in a much more strongly

satirical context. 2 The moot important were Rutobuelte genöd

2na lo geetoum4,3 (c. 1265), the anonyaouo ZGQuronneraent do ýt ý

(after 1251), Jcczueznn1 oioldob Qnnrt le ?I ve 5 (c. 1288), cnd

the anony uo Rennrd 10 Contret'n1t. 6 (1319-42).

: so separate Englloh storleo Been token trog IeR2AWt ca

anan7aous thlrtecath camtury poem Oft Vox a of Ihe 'role and

Ch3ucer'e ? onn*e Preeotea To1. B A version of branche I (the

1. , the ar alleat, was edited by Ernst Moron, 3 vol©. (Ctrce- bourg, 1882-7); ß, of twenty-one or twenty-two branched, was being edited until his death by Mario Ro uos (Claeaiques Frangais du Uoyen Ase, 78,79,81,85,8ý, 90, Parise 1948-63); y, the most couplote edition, was edited by . D- . don, 4 vole. (Paris 1826) - vol. iv contains Cm end Renart le iaouvel. For ass. details see the editions of in arks xoauaa; also Boasuat, Le P24M do E enurd, 22, cit. , Pp" 177-9. Except in opeeia o rcumetances, d scuaeea when they occur, I have used Roques' edition throughout.

2. Ct. ßossuat, Le Boe n $*nW, op, citt, pp" 139--N4* 39 od. E. U. Uaa: (The University of Michigan Contributions in

Modern Philology, IX, Am Arrbor, 1947). 4. ed. A. Foulet (Elliott Monographs, 21+, Princeton and Paris, 1929). 50 od. Henri Roussel (©. A. T. F. , 1961). 6. ed. Gaston Reynaud and Henri Lettaltre, 2 vols. (Paris, 1914)" 7. od. T. Fright, A ßelection of Latin Ctories (Percy Cociety, 8,

London, 1843) pp. xvi-xsvi. 8. Cf. James R. Hulbert The tiun'o Prleat'c Tale' in sourc©e and

a tt 'Cau

Talgs, od. t1. F. Bryan* and uerra ne i)epe or C caco, 1941)o pp" 645--6509

23.

attasspto to bring tho Fox to trial) was made in Uiddle Dutch before

1272. Called Vcn den Vo Reinnercle, it wan later onlargod cnd

continued, with reference to other branches or the original, CO

Reinnerte Nißtoric. A prose redaction of this work, publichod

at Gouda by Cerard Lecu in 1479, wan translated - and publiehod

in 1481 - by Caxton. ' Henryson may have known hie version. We

noticed the European-wido interest in antral tales in the latter

part of the fifteenth century evidenced by the large numbers of

editions of (tctn3 öeals `"1 rind Gualterun lious' fables published;

something of the sa. e interest can be aeon in the publication of

various versions (though not the original Rcmen of fox tales.

1. Best read in 1deord Arber's edition, T h2 IfIgIgry RC -, the XR& (The Rnaliah Scholar's Library of 0 3. odern ºiO s, I, Kordon 1890); a sodernised version is provide1 by Donald Be Ganda, (Ccabridge, hass., and London, 9 i3 s -ed on contains a very valuable introduction discussing in detail the Dutch versions.

2.

(iii) The eze=pla tradition'

Animal tales are also to be found in mw r of the collections

of corcon exenpia audo in the thirteenth, rourtoenth and tittecnth

ccnturiec. The use of cxenpla to any marked degree in aornono

first beco=e© noticeable with the growth of popular preaching in

the Into twelfth and thirteenth centuries$ a growth to be asoociated,

at least to some extent, with the preaching of the Crusaded and tho

of»s of the newly founded orders of friars - the Dominicans espcc-

lally had reich to do with the spread of exempla collections.

It is probably of profit to quote typical exsipleo of the

reasons given for the uce of oxc la$ IIenryson himself cozparaa

his work to that of a preacher finding 'under a fable figirall ...

sc. d sentence' (Tie FQx tried before t one, 290-1) j ani, in

the Dannatyne Lcnuscript, The Foxex e1A t e_ V2 U ende with the

postscripts Explicit exemplua veritatie at faleitatis. Johunnos

Gobi writes:

... Cum enim, reverends pater, impossibils sit noble superlucers divinua radius nisi rub, velaMine slmilitudinia at figure, ut teststur in angelica hierarchic, hing eat quoll mantis

1. Goo J. Th. Velterp 'a" St ! &jdgGtl; u* du o que sto re J: cc s ast que e ranoe, Paris and Toulouee, 1927) - bereafter cited as Welter; T. F. Crane's introduction to his edition of i, i

e fl Va 46 av ublicat ona or the 1 o1k-re L ociety,

ndon, . 1890) - hererfter cited as Crone. Also e8, A. Lecoy de In l: arche, T. a hn Ervagpleg e moY

g&Dlu-m Ja modo edn. (Paris, 1886) and J. A. Loshor, The k:

Co iv Un Yereiti Utud1es nr ngl eh, I orr oricý 5 1). R. Bauman, 'The Folk Tale and Oral Tradition in The Fables of Robert 2ienr7son', gei , t. , also seeks to relate Ilenryeon'o vors to this tradition though he neglects the fact that Eionryeon would vor? probably rord na well as hear. ezemplal several of the collections were printed early and munuooript copies of many were auaorouo.

25.

nostre raclo in tan oxcellcnti luce non figitur nisi can accipiat per oinilitudinoa at oxenpla. Undo unigenitum Del verbum ut cedentee in tenobrio at in umbra corti© cd caleatia olovarot, in exemplie at parabolie loqucbatur eo quod forciue covecnt aviclius audiantur firniu© rotinoantur of a terenis men Iem erigant ad sterna ut Augustinus adootatur ...

8lallcrly Johi=oe Herolt:

... Nan exempla faoiliue intellectu capiuntur at tiraiuo nezorle 1nprlmuntur at a sultis iibentius sudiuntur. Legiaua enlrs patrea noatr= dominicum ordinie predicatorem itindatorem boa feciase. De eo quiden ccribitur quod ubicurque conversabatur editicatoriie ettluebat sermonibuss abundsbat ezemplls quibus ad c=rca Chrioti ceculive contcmptum audientiun anir. 3o profocabat. Z

ýº interest lo largely oath szeapla collections but there are

two preachers I should like to mention. Jacques do Vitry

(c. 1180-c. 12Z0), as ardent preacher of the crusades (both against

the Albigensian and against the intidelo in the voly Land) became

1. Scal n _Cel , (Lubec, 1476); also quoted by Folter y. 321, no 75.

2. SGccr. x recullp na gdunensi o, 1W' , tiro oEuo

a roaptusr u exemp oruo, col. M; also quoted by TZelter, p.

400, n. 9. Ct. also the prologue to H=bertus de Rohanis,

j. p/ aM

(printed magistriiAlbertiaäagni Ratisppa

ep stop ad ownea mater sa). An AlpAglel 2r Isles, ed. U. 1t. Banks, 2 vols. -a projected third did not appear - (R. E. T. G. O. S. 126-7,, 1904-5) recounts the, story (CCCXV, p. 217) or at. Aidaa s success through exempla where his predeceaoor (who'usid so aekull soteltie and strange saying' In his sermons) had tailed: the story steno from an apparent misreading of Beds but was widely repeated in exeopla collections.

2s.

Cardinal of : usculum. l Ilia sermon®2 oontaln miry anlual atorioe,

usually but scantily developed, usually with specifically

Christian moralisations rather than the generalized ethical

lessons of the fables in fable collections. Many later collectors

drew heavily on his work and his exempla were at times extracted

from the sereons and circulated separately. Also popular, to

judge from the mang printings of the work, were the sermons of

Johannes H6rolt, a Doaialoan of Hagle writing in the first half

of the fifteenth century. 3 To the collection, the >e , n, g

p1eoi_ nuli, was attached a prooptuarium ©xenploru*, listing the

exesspla used: the work thus served the double purpose of sermon

annual and exczpla source.

Of the exe=p1e collections there are two groups which are of

iaortcnces4 tho" cozpiled for the cid or proachere, morali: ed

czg umm ra11zoi, ecetixee with linking theological commcntaryj

I* for life see Crane, pp. xxii -" uxiv. 2. The exe=pla from the Cer=nee Vulgaren are extracted by Crane;

selections fron these sermons are to be round in J., Pitra. alg2tg 1t e3 Altere continuatio

oa 11 arie, . pp" 344-4619 . also 0. Pranken, Dle a (quellen wad Untersuchungen Zur lateinischen rb o ogie aas Stittelalters, Bd. 51,1LCt. It 3Lünchen 1914), sM J" Groben, Die Ex 1a aus , Se es FOCISAIG Ja " V211 VISM (ßamulung Jaittel-

ste i scher Texts h c,, * A rona 1111kat 9 Heidelberg, 1911 . For details see Crane, pp. "xxxiv-liii; aM Welter, pp. 18-124.

3. Crane, pp* lzxri-lzxviif t"elter" pp. 399-W2* 4.1 shall not, of courseg'attompt to describe'all the collectionn,

but limit njaelt to what seem the most important: those illustrating general trends and, especially, those containing numerous animal tales of which I Haake uoe+later.

27.

ci We* Wch are geaera morel treatises using eueapla to

reinforce their lessons. In son. ways the most important or the

first typt is that of Stsphßaus do Borbonsi his vast Tractotus

go diverels Iaateri a yred1c&bilib ,1 unrinishedv contains nearly

31,000 ezeapia. Thin collection ins; fired another important mork,

Libor de Dono Timoria, 2 (c. 1270) by another Dominican, Jluabertue

de Rossnis. Other interesting collections of the late thirteenth

century include the Durhaa Mar F, t cloruz ,3 the Tsbu1a ZX=Dloru

60CAWua lne3 slohsbet Z

and the ßgecult a I. a icotvm. 5 In the

early toartecnth century Arnold of liege, another Doainican, uroto

his AjahbttuA ttcrr9c1onua. 6 Of particular interest to us is

John Bro 7ard'c f: 'u asjj1c, a tiua, 7 a preaching manual containing

over 1,203 c c=pla laaluäing aaW aniial stories. ßoblOu recalg

ßj, 3,8 (co 1350) also contains fables.

1. The soot complete UZ. is D. N. 15970; D. U. Mditional 28682 ft. 208-276 b coataina a part (described by J. A. Herbert, CatelolMe of Romances, wr)l , lt. t iii, 78-87). There 2e no oovplete edition but see A. decoy do is tScrche, Anecdolq

st 1ee M120-22 a. u rtre do Brn c Cociet do l'bletoire do n Krcnce,

cris, 1877), * or details see Welter, pp. 215-23.

2. sec p. 25. n. 2. above; for details welter, pp. ' 224-8.

3. ed. A. G. Little, (Dritiah Society o ran ciocau 't ea, It ut ean, 1908)= see welter, pp. 290-4.

4. ed., in summary form, by J. Th. Colter (Thesaurus Bsoaplorua, Pasco III, Paris, 1926).

5. ed., in teary form 'by J. Th. Welter (Thesaurus Exenplorum, Pasco V. Paris# 19141.

6. sea Colter, pp. 304-191 there in a fifteenth century translation, Thy th bet ofT los, ed. it. Ii. Banks, on_citt.,

7. I have used the Antwerp edition of 1614. Coo Molter, pp* 328-34. The collection was certainly milde by an English Dominican in the fourteenth century but his identity has not so tar been established with any finalitys sea V. A. Pantie, TLg Fh 112 tbe puc (Cambridge, 1955), p. 147t no 2o

ö. ..

&L. t for details see Colter# pp. 319-25.

28.

Of the second type of exempla collection there are three

works of particular interest for ust Nicole Doson's Les Coj

ra ; ßs1 an tnglo-Norman tent composed by an English Franciscan

about 23201 Ucyno do ltaynori's Dialogue Grecturarum2 (after 1326).

122 dialogues, usually between animal and man or animal and animal -

each dialogue usuall. y. contains exempla to illustrate further the

central theme crud m any or these are also animal tales] and the

anouysous Qte lnm� saPlenc Ie, 3 a tilteenth century book of moral

teaching which also contains a few animal stories* Hore too we

should probably meatlon the r. edinval encyclopedias of science

(eosetiaea moralised), well reprecented by Dartholomssus Anglicus'

Do Pro rietat, 1bue R44 But Henrysoa eecae to have uaod little

or the lore of such works. itor, is his roralitations, In it

generally ncaoessry to ascribe to him knowledge of the traditional

alleZorisations of anlaals as found in, for instance, the oregor.

Erz of Ocrnerus of Eta Victore, g or Iirabanus Maurus' IU1e=riae in

TJy jyersaa 6acra a tjcplptý 6

1. ed. P. Ueyer and L. Toulain-3nith, 7,20 Con 7! o nlin4e tt . 42

Agra I (©. A.:. P.. 1889). Dozoa'o anima t ea seem large drawn rrom Unna de Frances seePhilip Warnor Harry, A gg^prýý, ye S%RU 2C The 1 Fa le 113 rt (University E3tuuiiao pub ©hod by 'a'ha n vors ty o: ina nnaL # Series 11, vol. i, no. 2, Cincinnati, 1545).

2.

3

is

5. 6.

at , hg. J. 0. h. - Urgase (-Bibliothek dos ttsrariechen Vereine In ituttgart CXLV III, Tübingen, 1080). or4sse'a ascription of the work to Ilicolaue Pergame ua has Since been contesteds sco welter, pp" 357-8" For datailo sea Welter, Pp" 357-60o There is un English trcnslation, 1bg i CresUr e r2relXc. 4d Ammlyobly L. nä rd1ticts Ztl Antwerp, 5

Allgoten ia ti , again G sse a ascription of authorship has been

gaes o toi: see Walter, p. 433# no 16. For details see tielter, rp. Z433-5" I here used John of Trevisa'e translation in the London edition of 1535"

CXC11i, 2-7-1462 (cols. 65-136 are of particular intoroot). 471=9 iii, 8z9-1088.

i9"

I hope thin diccuaaion to have served two purpocea" Firctly,

to havo reminded that Henryaon"s FeblIllp bolonga to a long literary

tradition, l European-aide in Ito occurrences core particularly

perhaps the work can be related to the widespread interest in

animal literature in the second halt of the fifteenth century

illustrated by the mister of such texte printeds some of theso

texts almost certainly provided flenryson with certain of his

sources. Cccondly, I hope this discuecion will have placed in

some sort of context those works which I shall proceed to examine

as sources cxd analogues.

Now, I1==con calls his work'u caner of tranalatioun' Ur-ol

32). But the pnbjjjjg are far core than a tranalationt rathor

they are an cru=sion, a reinvigoration of the tradition. T uo

to discover the exact source is at tines almost impossible. There

is also the possibility that variants fonryaon has used have been

lost - the analogues found for some of the tables may suggest this.

The courcea cuid cnaloguee of each Pablo thus require the closest

analysis. Thus rather than write a general. source study to bogin

and then examine the individual tables in relation to the discovered

eauraeß, me night be ez;. aoted, 2 I have decided to disauso the

sources of each individual trblo separately. The "thoc1 will have

another advantages for each fable we shall be able to see just

what existed in the tradition before - and thus honryoon's own

contribution will becoze more obvious.

1" The literary tradition 1no;. ired Imitation in the other arte:. see for instance Bossuat, B25 an go flyna13l, opt

ýcit. , pp. 164-7t Lillian U. G. Randall, 'Exen;, a as a source of 061116 -art illualnation , The i rt, Bam, etin, xxxix (1957), 97-107.

2. It a general statement is required at this point I can but refer to the tabulation - with which I largely agree - or Professor John Uao4ueen, 'The Text of fienryaon' a korall Pabillin', she Trim RRcyi. , xiv (1963), ii"

30"

Ct The Individual Works

(1) The Prolog

Us P0110,9 18 based ultimately on that of Oualterus Angliaue. l

An euminntion of the ohanaes of emphasis CM the extensions the

poet has made to his original will show the different theory of

literature which ffcnryson used and also stres© the philosophical

and theological elements underlying The Fnbýls, eleaents which

earlier collections, in which the tables deal with unrelated ethical

prob1s s. do not develop. 2

Qualterus' Prologse reads

Ut luvst at prosit, constur pagina prosenst Dulcius orrident serin mixte jocio.

äortulus let* parat tructum cum flora, favorer Flor at fructus emunt; hic nitot, aste sapit.

Si fructue plus flora planet, rru©tua lege; al floe Pluo fructu, florea; ai duo, carpe duo.

No aIhi torpent« sopiret inertia seneua, In quo pervigilet, mens mea movit opus.

Ut stesoio protium de vili surgat agello, Verbula oicca, Deus, inplue core tuo.

Yoralitas. Verborun levitas worum fort pondue honestum,

Ut nucleus celat arida teats -bona.

1. Bastin, ii, 7-8. Lost of the material Henryson cdepta could also have been taken t'ros the prologues to the Ieopot de Lyon or Isopet I which are based closely on Oualterua' version. However it can be proved that Hem-loon used Gualt©rus' prologue directly (1.28 is a direct quotation of 1.2 of that work) and there is no need thus to postulate the Influence or the other versions. Two intereoting parallels - they are, I think, no more than analogues - between Uonryson and these versions I shall discuss later.

2.1 assuwde that the poet intended his Profi to apply to the ooapleto group of fables, Henryson'a work is drawn fron varying sources and his plan say have changed considerably during its coaposition fatter the appearance of Caxton'a, ror instance - of. David K. Croene, 'A Date for the Ccaposition of Uenryson'o F ', J. E. Q. P. , lzi (1962), 583-90) but his theory of the nature o

"abTe fora set out in the Fjmlo sews to me applicable to every fable in the collection. u of. the discussion of this Point, end related textual matters, in John Ueo ueen, 'The Text of Henr7son'e L'orall Fabiliis', o�c t,, pp. ,

3-44.

31.

Additio Ut loquar uberlue, adelt mlhl Virgo Maria,

ßuppleat ocllpsia Filius apse euus. Cum n©ccisus enln perplex! Quid faoicnua.

Luzlllun cilttunt caelitue ietl duo.

Uenryson adepts the Image or il. 2-5 markedly to expreeo a rer.

different literary theory.

In lyk maner as throw a buateoie.. erd co it be lawborit with grit diligence Springt© the flourlo and the cornia brerd hailc= and gud to mania cuotenence Co cpringle thair a corall cueit sentence Out of the cc: toll dt of poetre To gsd purpoi o Quhn culd lt ryoht oply (8-14)

In the original the pleasure to be gained is represented by the

flowers, the wlciom by the fruit. One can choooe to gather one

or the other or both, they are seemingly of equal value. Iienrycon

characterises the earth as the poetry - sorely that from which the

valuable is tilled - both riowere (the beautiful) and fruit

(the nouriehine) as'¢orall nett eentence'gained through hard work.

Thorn to no choice offered, the priorities obvious. A second image,

taken core directly from Cualterus, conveys slsilar implications:

Thir nutis cehellia thocht thai`be bird and tusch They hold the eirnall nett and delectable Co lyle thalr a doctryne wyee anewcb and full of fruct Yndir a fen7eit fable (15-18). 1

The poetry is merely the cloak, penetrated with difficulty (the shell

1. There is o co=on medieval fable concerning a foolish ape (usually interpreted as a worldly fool) which when it finds the rind

penance) bitter does not bite through to the sweetneso of the nut eternal life). Co, for instance, Jacques de Vitrq, Crane cxxvii,

p. 58= B. K. Y8. Arundel- 506, fol 142bj H. U. Additional 1W. 18347p fol 1268; Oda of Cheriton, iferlrieux iv, 218; E? Lai__ 1ooru., B. Y. Additional 128.11284, fol 101 &IbSC R t;

ea Alchabeti. 5. L!. Additional M. 16351P of v, ea. J"O. Th. Oräsaep gRik , dialogue 11, p" 149;

An -A ýt 0%, P opm , od" M. «.. D s, 9P, -alt, 90 cooxv, p. 2171

i: a e-mg1jah aoa. ed. 8. J. H. errtage b. . t3. a. ý. 31P v p. . The imace of rind

aid kerne was coamonly used to assor! be Car ptural efe esis1 the rind being the literal level, the kernel the various higher

orle '

sl" of meanin e ucc1 tosdeserib©1tno etZ odo to bo utcod in It

aco became wide ucýcý ceadin rtaia lo rico1 it nary workso o p. t7. Robcr` eon Jr. a a ermx1v?

jy . lwjuggF

Hctcrcnc© to Chiil CAM iö ;ý oe4r p

Utm 91

32.

is 'hard' and 'tuichl), covering the 'doctryno' Erbich provides both

nourlabment ('tract', stressed by tho alliterating Pl) and pleasure

('suolt' - cf. 1.12)2

L1.19-28 are probably developed fro= tho firnt two liaec of

Oualtorua prologue. 3 The development in the prologue to the

Isopet da Lyonn is also of interest, likewise invoking authority

2. ticnrycon'o frequent uce of alliteration hue bean noted by sauoral critics for instance Diebler, loonelg ,

noa pp. 6piorfl, The Scots taTci, p Uittig, ; he r, tn"

ZL

P" 35" It has been d scuaae n Most eng by aulinc b. knight, In L' Sgg&tjeh , an

unpublished it. A. thesis for the University of cnalioeter (1952) , pp" 55-77 and 156-61. In her analysis of the heavy alliterative pattern of the parliament of the gods in The ýT a Creneela Uics Knight described the function of tdevice in

c wo eorkS

It any be argued that the latter [the uoo of alliterative veroe for close description] In a merely decorative use, but it should be noted that the vocabulary and the heavier verse rhythm introduced by alliteration bring about a of flaunt enrichment in the texture of the verse ... p. 66). The reiteration of a key latter adds force and intensity to the sense, so that the employment of alliteration is not merely ornamental device, but a true recognition of its proper virtue (p. 69).

There is no need to give exemplea here for many alliterative patterns will be analysed throug. `wut this thesis showing how em; haais Is given to the meaning by their use.

The use of alliteration in "Chaucerian" metres Is as old as Chaucer hi©aelt (for instances, loll, I(A) 2605tf) but Iionryaon' o use of the device *ooze such more extensive. I make this statement with some reservation for it is a personal impression only Intensive study of fifteenth century poetry with this point in mind would be needed to substantiate it. If the impression is correct it provides a further example of Henryson's creative method - the combination of separate traditions in an effort to create a new Image for well-known, but still important, ideas.

2* Ct. the discussion of mediaval aesthetics in D. U. Robertson Jr. i A Preface to Chaucer, fltu4ge in JSedl ºal 'ate Princeton WU 1 On, o, pp. cnryeon a oyrn wo ras would coca to condemn those who rstusd to take seriously his ethical rnd religious preoccupations.

3. The fact that tables both entertain teach is mention 9d throuF, ýh- out the tradition. Thus khmdrus, Prologue, Hervieux, ii1 51 the vulgato Ro=ulue, Stol-nh6woln P, operitt.., p. 78, for instance.

4. Bastin, ii, 85-6.

33.

Raloono ßu'eet de soles Dares Hat plus voluntiere esooutoop car cilz fait comrt'un coutilt 1az Qul Coale cent cvuoo coulez. Tulles aueoi 1 ensoigne a faire Por los cuero des ganz piuo atraire (3-8)

Henryson's dovclopoent of the idea is, at least at first, tar lace

onphatica11y didactic* is have noticed that he has stroosed# in

the two images discueced, the sweetness of the moral content, the

pleasure it can give. Here too 'nirrinos' (in 1.26 emphasized

through alliterating m) receives the initial stress. This 'citrrincs'

is probably not the eveetnoss of the moral but cheer delight in

poetry (11.3-4)92 delight which is of course only a means to an

ends Dalcius arrident saris Dicta fools.

uearyson' e h=ulling of the three stanzas discussed so far (the

material taken fron hie original) shows great akill in rhetorical

persuaoion. tie has made them part of a defence or the fable forap

cnevering two criticiemet on the one hand that the form is dull,

on the other that because it is 'grundit' upon fiction it cannot be

of value. The latter criticism (the subject is not discussed in

the original Oualterus but is an c4. dition) is answered largely in

the first stanza though the answer is also implied in the two images

1. In 11.3-14 Henryson tells us that what pleases in poetry 1s poleit terrie of sucit retorq"' The mirrinaa, cne mu' perhaps assume arose from a skilled hearer's delight in poetic craft

(the 'acitell dyt', 'the gay aelvir tacound cued purpcrat') rather than trod 'the wealth or personal obserrration; simple pathos and lively humour' (Wood, Poc a: , 2]2, ciiti, p* xv) which delitht the modern oonno oceur of charne

34.

discussed above - the adaptation of these images is at least

partially ezplII2ned by thin purpoae" There Is ca intercatin,

parallel to Henryaon's defence In the epilogue to Ioopet 1: 1

Car l'en y treuve veriti Coabien quo fable roolt6 L'ait; co west pas a merrsilliers Qui as logique vuet veillier, 11 trouvera quo da premiases Faulsee, enaamblo bleu asoioes S'an suit vraie conclusioun (k9-55)

But his defence Is of course very different fron that of Ioopet I-

the Togour" lo of central Importcnce. 2

Having diccri ed criticism of the fable form in general, the

poet proceode to disarm that directed against his particular

collection, professing knowledge of his own inadequacies, maintaining

that the task of translation was undertaken at the insistence of

a lord. As has been pointed out several tines we do not know -

and thera is little likelihood that we shall know - the lord whose

'rcquaict and prryeria' (34) caused Ilcnrycron to'nak a ==or of

tranclatioun'(32). Indeed it is open to question whether thorn

were such a lord: the explanation3 aces be merely part of the

humility topos expanded upon, in thoroughly conventional Lenas, in

tho sixth stanza. The topos, of classical origin, was . often used

1. Bastin, lit 329-31. 2. Ct. Denton Fox$ 'Henryaon'e Fa. bleo', op, -cit., p. 341 and notes. 3. Assertions that a poet has been commanded to write by a noblenan

are not unooaaon - in the table tradition Darla do Frame's Prologue contain auch a otate ent (il. 30-71 Ewsrt and Johnston, ope c, pp. 1-2). Cr. also E. R. Curtius, TnI. tv ara the La is , ovs oliv pp.

"

35.

In later me4i"al poetry*I I quote but ono parallel, from the

prologue to Lydgute'e Ieopoe Pabull ,2 to illuotrate fenryoon'a

debt to th3 conventions

And, though t haue no rethoryk crate, Haue me excucyd tI was born in %ldßate .. " (31-2)

... And yef I fall bycause or 1gnoraunce ...

... I as sub't to theyr correcolon Of heal that haue sore alere ins eacion In aatyre that touche poetry ...

(43-8)

The critic cannot nov castigate the faulto or the form or those of

UcnI7con'© verse; he has no excuse for not attending to the

'doctryne' presented.

The poet proceeds to expound the oentral'tcgour of tho York.

The tr 41tioaal apology for telling of animal tables is wo11

illustrated from the vulgate gomuluel Veruz at vitam hominum at mores oatenderet, inducit eves, nrborea, beetina at Decors loquentee, pro vans auiuelibet tabula, ut noverint bomines, tabulcrua cur cit inventum genus, operte of broviter nzrrevit. 3

But, as far as I hcvs been able to discover, flenryaon seers the

first to import explicitly into the literary table form what was

a theological co:. =Place

1. As exasplee see Chauoer's Franklin' e, 11. V(F) 716-28;, Bale's Pg tIaoi P2easur&q " u. ý.. ead (E"E. T. fi. 0. i3.173, 2928)v U. 43-91 `. jdgata s rgI4 oPq, ed. U. Bergen, Pto i (E. E. T. ß. r.. O. 121,1924) 1.22 Y.; CD. also E. P. 11D and V (Dur2ca,

# p. 35921 r-olio as North Carolina a n, 192 qtn

IIMM2 AEUI, 2D, g1j, p Wo 0-59 .

2. ed. MaeCraccan+ The Uing; º Poems off` John LvUate, lip D. o o t$ * pp. 566-8.

3. ate a 1C P 122a Wet F. 78.

36.

how sir sen is operatloun ar lyk to beistis In thair conditioun (46-9)

The idea has Biblical authority: 11 Peter ii, 9 Pt.

2Zovit Dominus pins de tontatione eripere, iniquos vero in diem judicii reservare cruciandos. Iagis autem eoa qui post ccrneaa in concupiacentia imavnditiao ambulant, doninationeaque conteanunt, audacoo, sibs placentas# sectas non netuunt introducere* blasphsaantes ... Hi vero, valut lrraticnobilto pecorn, naturalfiter in captioncm of in perniciemp in his quas ienor#nt blasphe m antes, in corruption sun peribuntp

The idea was also to be found is Boothius' re Coneolatione P'hi1oeo- ýýýrr ýrwwr

Mbli-ktl And grit thou volt legen thi lif in delycea, every wyght schal des; ysen the and forlceten the, as thow that art thral to t2Lyng that is right foul and brutyl (that is to seyn, oeruaunt to thi body). ... yif he be lyght and unstedfaet of corage and chasngith ay hie dudsec, he is likned to briddess and if he be ploungid in rorlo and unclcne luxurlc, he is witholden In the fouls delicea of the Sowle sore. Than folweth it that tie that forlototh bounto and proweose, he forletith to ben a man; syn he may net passe intQ the condiclon or Ood, he is torned into a berate. -7

Innunermblo lator medi=al examples could be-quoted. I shall

content syself with two which help to place our passage (indeed

. uch of flonryson'e work) in its theological and philosophical

context. fig C, 123d�ri3nwIn :

1. I have taken all Biblical quotations to be used in this thesis Prot the Latin Vulgate in an attempt to provide a text which is probably close to that which Ifenryaon would have known.

2. Book III, Prosa 8. I quote from Chaucer's translation, Robineoa, p. 347,

3. Book N, ? roan 3. Robinson, p. 363.

37.

Before er man aynnid ras the sensualrte co obeclyent veto the ville - unto the "hicho it Is as it were eeruaunt that it minictrol neuer unto it any vnordeindo likyng or groching in any bodely creature# or any goostly feynyng of likyng or mielykyng caad by any goostly en yro In the bodoly wittes. Bot now it is not so; for bot ylf it be reulyd by grace in the Rille, for to cuftre meekly ýan in cesure the pyno of the original cynne - the whiche it telith in absence of needful "likyng ar in presence of speedful groching - an therto alto for to atrayne it fro lusts in presence of needful lykyng, an fro lusty plecaunco in absence of specdtul groohing, ollen xil it vrechidly nn, wantounly voltre, as a cTiyno in the a yro, in the welthes or this worold j the foule flesache co mochel, that alle ours lcuyng schal be more boop ly and tlocchly than outher manly or goootly.

at. Vincent Pcrrer preaches that those

c viuvzt ibi s. cunGr ratlonoa aunt hominess qui viu t securr4ua sensualltateg"aunt bestie. a ... Superbi cunt lconaa. nuari uulpoa* luzuriosi porci. lnyidi cunt canoe. gulosj cunt lupf iracundie o antes niue vipre.

1. Cd. P. iodgeon (E. E. T. 8.0.6.218,1944pp" 11"0' 2. ermon. e dim (Cologne, 1487), Dominion ii adventu

domini, uormo , col. 3. Cr. oleo Humbortue do Romance, Do DoxjR i pars. oexta do timoro pecoatij.,

s aye , bR gis Ren elm eccat rum m rtallum v ena us karre, 1.518)p ro . 34N for

Malvehyp an rah rune scan of the beginning of the fourteenth century, aid his work, sea, trelter, p., ,

173; Dartholo=ue /. nElicua, y1 e at tree Rte, tr. John of Trsvisa, Q[r, Libor ,. robo ccoiaj T. 7ri&ht, Latin 6torie , on. i, no. 63, pp. 57-81 V1. Hilton,

0319 CtQll , k. , 11, oh. 11+, 0.. I lc K3., flarl. 6579,

fol. 7 te ocaley j The e ReggmgD& 2C Pne, cd. P. J. Purnlvall (8. S. T. ©. b. 72,91 ,. 1 2-31 W*0. Rose, lfi 1R Fný! l ah Sermons FdItgg fm 13fý

Lim U: 3- ei 11,2Q i p. 2751 Cantono eG P ofC es , ed. W. E. A. Azon (Conlon, 103)t pp. 104# 1320 ö. Also D. V. Robertson Jr., A Preface t{ Chati er, 0. t,, pp. 27-8 and 150 ff* # also figures,

... ;,,;

,. . t:

38.

Three points in Henryeon'o exposition of the idea (11.43-56)

should be noted. Firstly, the poet will show the enizalo'A gylogys: e

propose and elk ezelul' (46) - worldly den sec learned: we moat

remember this when we are introduced to technical Lerne in the

PODS 11l e, for instance the legal terms of Tho Fox t Yed before the

L e" Secondly, we s=at not be misled by phrases auch ae'curnall

foul dolyte (51), 'lust and appotyt'(514) into thinking that the

rz !1 �4j will dcra prinarilj with crinoo of violence or passion.

The baalc sin (the consideration of which forms the central

preoccupation of the FakIllIgg thus linking the work to the large

body of modinyal literature) Is that of oorldlin©oe, the placing

of one's trust in this world's falco values. The vicious eine

are but a conaoquenco of the claplacir g o: values as Ilenrgßon ohovs

us in The do the Scho1v ar ho r ol"p and v E2111 2a4- Q2 L'

for Instance* Thirdly, emphasis In given to the way in which ein

become a habit - we shall be crown this again, eopooia17y in

The-wallow Rn1 Oth1r BIrdis. l

: he PER1211 tlum illu3trate3 üenrrson'S nature tie an artist

(construotion, throsgh ca:. bination, otton of conventional forms

aiui idoaa, of ooyh. isticatcd arguncc it, this reinvigorating the form

and providing a new inýge for an idea which had preoccupied corny

artiste in the preceding mediwval centuries) and cetabliehee the

critical criteria which moat be obacrvcd to follow the author's

intentional we shall gain plcaaure fron hie skill as an artist but

we sot meek (a tack which will require effort) for a fuller under-

standing of the coral purpoee (which will give epiritual nourishment

and its own pleasure) illustrated in the central figure of the

cycle - ran as animal.

1ý Cf. D.. 7. Robortoon Jr. , l\ Yrcrt1CQ to Ch!, uC4r, pp. 65 rr..

39"

(! i) Tho Cock and the Jewell

Them are to =Jor points in determining Ucnrycon's eource®

for thin fable.

An Gregory Faith pointcd out, 'tlonr^jcon'e use of the word

"Iaap" in the title in an important olue'. l The LBO &omuluo

begins with the talc entitled 'Do Gallo Ct iuapldö; 2 in the tale

itnoltp hoiravcr, the jewel is found to be a pearl (Gallus ... invcnit

carguritam) which is the form of precious otono co: nonly described

in the Latin versions of tho Paolo. Cualtovvua Llicue' version

also bogine with the fable 'Do Gallo at Iaspidäj3 hero the tors

is kept in the tczt itself. The Inopot do Lyon uses the form

'Jucpo' throachout. 4 In a note to the section on sources in his

introduction, C ith states: 'Thore can be no suggestion of borrowing

fron °r. Keapo (to in the Beatierien) or from earlier Southern

examples (es noted in the in none of which the effect of

direct translation in clear. 'S He given no reason for this

ota: enent a. ýd, to r sind, thorn appears to be nones Henryrson'©

'jasp' ßcona na likely to derive fron the French 'Icepo' as fron

the Latin 'Inapia/Iacpidia. '

1. ERsf ort-clt,, it xxXii. 2. Heraricux, ii, 564-5" 3. I1oatin, lit d. 4, Dustin, ii, 86-7. 5. E221591 Qt's, i, xxziiio no 4.

400

The second clue to the source le the nature or the moralitns.

A surrey of the applications found throughout the tradition vi11

be of interest. Zydgate Is alone in praising the cock; ' it known

Ito correct station in society he ezDlaines

The cok derydo to ?m hit was tore dov mall eirplo gragno, then stones of h. ygh renoun, of all trecour chief poeaena1oun

Suche as God sent# echo man tak of gre Net proede with rychos nor Crogo with poverto (213-7)

All other versions ere cor4eanatory. Bro7ard' 02 refere to

the preacher'o congregations

Putet ergo, quoll mull pr®dlatorum eutfiolentem ezcuentlonea habent, quere non debeant Del verba =dire, Bed pzwdiatee ringunt oeunaa, vel

roter cauaae factas .... Vol quip Del verbl, et Yirtutua et pocnitentlee et bonorum operum lgnoran3 precioeltatera. Et eat do eia, olcut dicitur cccundum fabulne de gallop qui in fiio lapido precloeo invento, alt, libentlus inveniaaem unun srcnum, quia nee tu utilis hihi ea, nee e; o tibia Habentea calm etomachum occupatum allis, In letic non Invenlunt cuporcm, set dicunt, quarr bonus cibus esset, al quis haberet appetitun, Iorc. 22.1ocutun rust nd to In Ouadnnttu tue.

"t" F

fllcole Boson interpr©to e ilar3y3 under the bending 'Quod caaritudo

mun1i nultlo plncot at verbuni Del dlcplloet'. flow neither of

t2 eao to=ts In anY wir Intluencoa ffe. son but two points at least

are interesting. Firstly a "psvifioully religious application Is

1. The Minot vae: c otJoh"L, y alt, i1, , pes t. , 568'74.

20 a t'r' dlSt , OD# A xxvi (Audiro), 32. 3. j, Ai Gonteo k4rgl1edu, .p. 40-1.

11.

given to the fable] we shall see this to some extent in thin fable

of Henrlson, cM, even further, in othoro. Secondly, Biblical

passages are quoted to support the argument= this too i© a

charaoteriotic of Henrycon'o method both in thie fable aM elacwhero.

Another clans of noralltao refers solely to those who do not

understand the fables. This interpretation atoms from the

original moral in Fhsärue: 'Boo illio narro, qui mo non intellegunt'. l

This becoaes, In later redactions,

ipsun logunt of non intellegunt'. 2

'Hoc Isopua tuba narrat# qui

Marie do France3 condemns more

generally

Autrcai eat de raelnte gents 81 tut [ne] Yeit a lur talent Cure del cok o de la ge=e - Vati 1' aTuns do huge at dc tc c Bien e honor nient no prisent, Lo pie Vernent. le aeus dospiaent (17-22)

to coo closer to Eicarycon, however, van we exczlne those fables

which interpret the Cock to e tools time the version in the Corpus

Christi Oxford Ro-ulue4 headed 'Quoll quieGue insipiene bona queque

no praciosa quasi villa conte=; nit'" The version in hexrnctoro

derived from the Rosaulua of Ililant5 ioralizoo

1. ßervieuz, ii, 35, 2. Vulgate Rosuluos st h' we+ tgog, eci. Österley, Rog c1lo , p. 80.

Also TIiese. bour; £eops ervieux, ii, 190; Uunich I: o*u uo, tiervisux, lip 262; Florence Romulus, Horvieus, lip 474-5. A variant in tre Vienne-Berlin Rosulus (Horrieux, lit 418) Introduces the concept or 1'oolia2neae which we shall find iwportants 'ties i11is Zoopus nurrct qui e; ßinua intollogunt. Quid Vrodest stulto divicias hapere, cum non poasit sapienclam *MOM 0

3. Evert and Johnston, gn cI, p. 2. 4. Uorvieux, ii, 21i6. 5. Herrieux, lit 654.

42.

Pe. niger insipiens ut spreuit regin done Sic otolidi brutl contenpnunt optima qucquo

The Lß0 Ronuluo concludoa with the noralitaos 'Sio otultoe arguit

Esopua, qui eapicncica invenire non curant, quia eun oibi

noceooariam forte non cognoscunt. ' Hero too, we find the jaup

interpreted as wicdoa; a aiailar interpretation in found in

Ucnrycon'e table. Thin interpretation Is also Pound, without

cention of foolishness, in the Roruluo of tiilanti 'Esopu3 Kano

prim= fab-i1az ditit do hiss qui doepiciuzut oupionoi i; ut

Quodcunquo bon= iaieaiunt". 1 But It Is tha co: xbination of the

two interpretations +wo aoc3t. : +rd it is to be fourct in Cualtcrue

Anglicuo and the French versions steaming fron hi©, as well ac in

the LDQ Roy u1u: 2 t

ßualterus: Tu OaUo etolidum, tu Jaepide dona sophia T,, Puichra notca; otolido nil capit iota a ege s

the Iaopet do Lyon: La riche Jaspe, o'©at eayoir, qua 11 fous Poaa its poet svolr, Son* eat done la co. paroison Dou Foul a Poul qu'eat sanz-raison" - Sapience qu'ost eopanduo Entre soust c'est chose'perdue (25-30)

Isopot 12t Icaste plorro senefi" iagcscc, at It Cow la folio (17-18)

Interestingly# for it in basically derived from the Romulus version

which has no contion of this intarprotation, Caatont o __Q2�3 reads

Ant thya fable e&ydo Ecope to them that redo thin book for by the cok in to underatond the fool which ratchoth not of aapyenoe no of vyeedoss as the cok retcheth and sotteth not by the ;. racioun stone. hrd by the etono is to underetord this fttyre and playeaunt book.

1. uervicux, ii, 513-4. 2. Bastin, 11,204-5" 3. era. Jacobe c 2s sit, ii, 4.

43"

An ext. 1nation or these two 'oluo8" leads than to the

conclusion that Henryaon aas influenced by the LBG Romulus or by

ßualteruo Anglicuo' versification of Romulus or by the Icopot do

Lyon - we can exclude the Ieopet I and Caxton'o Lgo c an they do

not mention a 'loop' and contain nothing occurring only in

themselves crd in ßanryaon. I shall eine the three relevant

texts Core clocely in relation to Aearyson'a table. The L30

Ro lus can be eliminated isnediutely. Line 112 in Iienryson'o

version (Thor ganie not for no nor I for the) can be olosely

paralleled to Oualterue but not to the Ißß Roiulue. Oualteruo

wrlteat

Ilea tibi convenlo, noo tu mihii nec tibi procsura Dec mihi tu proles; plus amo cars, minuo (7-3)

Thle typo or phrwm was the coon ondin$ ror the rtbio rx the time of madras: 'Nec tibi pro. esee, noc mihi quicquam potes' (7). The Isla Romulus, however# concludes: 'Ego 'Vero quJL to

invent, pocius escam quarr to quesivi, neo tibi honors facia , quia

to aichi non video necessaricai'. Besides, there is no point

at which tb. e LBG Roculus and Uenryoon coincide which is not

to be found in Cualterus. Cualtertis' version may now be examined

alone. A further point at which fearyoon's fable is close to it

may be found in the opening lines of the cock's address to the

3asp:

Cualteruet Rea fili pretioaa loco natique decoria Ilea in sord" Jacea, nil mthi mesaio hoben (3-4)

Honryaont 0 gentill gea o riche and noble thing ? bockt I the fynd thow ganie rocht for me ...

6,0* be

pety huscno g thus muk©and

aldding mvd (79-83)

44*

In the ieopet de Lyon there Is a greater eaphasis than in Gualterus

on the cock's desire for food, an emphaala which, an will be seen

later, Honason atrengthena. In Pladrus the phrase ist 'potior

cui aulto eat cibus' which forss the original for asiyr similar

phrases is later versional Ousiterus' phrase is: 'ail mihi sessio

haboa' We In the SaopSt d" Lyon the cock aayat

as* Luez a . las grains dent troannteou d'orge

Quar siez ne loot ovrlr la gorge (20-2) Ucnrysont the cock says that he would rather

... luk air lyvis Lude an come or drafo anall r orno or naillio or ony nett wald do my stomok Bude ... (93-5)

Of course Heni7con could have developed this crguaent himself;

Ce certainly extended it. A point of greater certainty is the

Isopet'a interpretation of the jasp as knowledge: 'La riehe Jaspe,

west Cavoir' (25). This is the only text Which I have been able

to find which has any equivalent for Iienryson's 'science' . It

should be noted, however, that there is no parallel is the leopet

de Lyon for lino 112 and that there Is aaterisl is the Isopet which

cannot be found in Ilaryson i

Basic quler un proverbs fin Se autres fables en In fin At Pease bien dou retaair Cuar grant profit t'rn puet venir (31-4)

Tare Is a further parallel vhtch can be mode between Henjyeon'o

tgble und another version. ilenrj&on writes that the cook: 'Flew

turth at a dounhill none be day' (66). Lydga, to describes at length:

bylom ts foule in a glod rrornyng Aeloye 4 Ara syene the son[ne j ebene With all lya flok to walks opon a Crone*

(16)

Us was Zurst bca for to treks bye faste, pith 2js vyveo about hym eueryohone,

On a =all don. byll to fyrmls a Food repasts ... (103-8)

45e

Iydgate's setting seems to ire a reminiscence of the scene in

Chaucer's Tonnes Prestos jell where the cock strides forth among

his paramours at this very time of day. Uenryson xcW have read

Iydgats and, reine=bering him, set his tole at the came time of

day for none of the direct sources mention this detail. Uororer

I see no necessity to claim this$ the setting seems to no, as I

shall explain later, rather a use of another convention to

emphasize the poem's theme.

prop this ©tudy of previous tellings of the tole of the Cock

end t? Jewell ye have al=at certainly loolated lienryoon'®

eourcess there sears to me one detail at least ($aavoirt an the

interpretation or 'jeape') that he could have taken only fron the

tsopet de Lyon. That text, however, does not contain all the

details Uenryson dreg from the tradition. These details can be

found in aualterue' version. It could perhaps be argued that he

used the Isopet and ooze other text, providing the necessary

parallel for 1.112 which did not necessarily either use the word 'Jwp' or contain a moralitas similar to his own* However we

hate already seen that Uenryson used Gualterus in the prologue

and there 16 thus no need to posit any other source. Proms these

sources fenryaon took the bare outlines of the story and of the

coralitasi the cock finding a 'jaap' on a dunghill; his address

to the jasp telling of its beauty, of its fallen state, of its

uselessness to him; perhaps a stress on the cock's desire for

food; and the skeleton of the moralitass a fool d1salssing wisdom

and 'Bavoir'. But to this bare outline Henryson has added a great

deal and emphasized 1r datnilsj these chnngee sauet be 0x82ine4

at length.

46.

üenryoon doers not merely state, os all tellings of the story

except Zydgate' a had done before hime that a coot searching for

his food on a dnngheap finde a precious stone. tie adds ! iretly

a portrait of tho dockt

A Cok su tyme with tethreae (resch and gart rycht cant end croue cuppoie he was bot pure Flor turth at a downhill sons be day To Cat hin denner sott woo all hie cure (64-7)

The poet has portrayed a self-confident being caring for nothing

but Its material comforts: it seems aaart ('fethreno freach and

r)= it Is confident and proud (the eaphatio adverb 'rycht')

deopite its poverty; 'J his cure' to upon material comfort -

its first thought in the morning is of food. Perhaps in the

time in which the action is cot we may ace an echo of the chcnoon

d'aventure convention in which the narrators or others 6o forth

at corning, usually in search of worldly pleocuro, at a time when

the world jjM fresh and gay. The narrators in Henryson'o own

LZon 4 the L'23se and in Chaucer's Lesend of Good WqM night be

instanced. The cock finds the snap not because he is seeking it

but 'be cventure' (68). It might be objected to this analysis

that I am reading values back fron the moralitast several readers

have told me that their picture of the cock at this point woo

favourable and, on first reading the fable, my reactions were

sintlcr. 2 This raises the question of how Henryson intended the

1. B. lt* reads 'gray' which Is scarcely intelligible. I have adopted 'gar , the reading of all other USG* and early Printe.

2. Ct. also Wittig, The &oottieh Tr_aäit_io n in M ntur, ON cite $ P" We

47.

poem to be read. There are three possibilities. Hirstly, I

think it possible that the poet sy have expected his readers to

know the fable and its probable morelitast their interest would

be In the way he was to tell it, in the particular slant he was

to give the story. There is a great deal of evidence in the

table itself, which I shall examine as we proceed, condezning

the cock; It one were expecting condemnation from the beginning

one could perhaps find it even at the first encounter. ßocondly

the poet, although supposing his audience to be unaware of the

table, night expect them to be sensitive enough to his devices to

be able to pick up criticism at the first encounter. Thirdly

and the would be an extraordinarily sophisticated device - be

sight have expected his cudience to be shocked by the moralitao

(either on first encounter with the table or having come across

I. ydgate's radically different interpretation) so that they thought

or read back over the fable Itself and discovered bow they too had

been duped, bow they were foolish like the cook. V7e shall

encounter these three possibilities again in examining Q2 F24

tried . sture the Lion. and The volt and the Vledcler. The third

poeoibility i© certainly the w17 the poen works today, at least

to judge from ry reaction and that of other readers I have asked. l

rhether the poem brought about a similar reaction when it was first

heard or read I find it laposaible to be certain. The question

does not occur to Steams for he judges the cock to bes 'a poor

1. and ct. Denton Fox, 'ilenrysons ft* 01209 Q .,, D. 343s

48.

person of character mid integrity'; ' he takes no account of the

moralitas nor of the conde2nntory material in the story and I

consider his recding of this fable to lack any kind of rapport

with the work itself. He writes of The Cook_nn4 the Jass in h1c

chapter 'The Poet as Humanitarian' anä has been mislead by his

preconceptions. I defend my analysis of the first four lines

then because I consider this to be certainly the way in which they

were finally meant to be reed, whether after a preliminary 'labe"

reading or not does not natter.

flow just as Ucnryaoa his added to biß Poem a dosoription of

the cock not found in his sources so he adds a description of the

jewel: it Is a 'Ioly Isep rycht pretloue' (69). llenryson uses

what are, via shall find, co=on devices in his poetry - two

adjectives qualifying e noun, an Intensifying adverb, alliteration -

to stress the beauty and value of the jewel. The jewel is lost

('tynt', 75) and not sought but thrown out among the sweepings;

the most valuable thing In this world (... science, for him nodit

no cair, 154) Is lost through the carelessness of those who

neglecting it care rather for pleasure:

" .. madyn1e wantoun and Incolont That Zane watt play and on tho streit be *one (71-2)

The Woods 18 perhaps presented in contrast with the parable told

In St" Luke ant, 8-lOs

Jut quas culler babens drscb"s deaem, ei perdidit drachszam uaaa, nonno accendit luccrnam, at sTarrit domza*, at quaorit diliEenter,. donee 2. nvenlat? Et cum

1. R ert i{enrsaon, oc it., y. 109.

Z9.

invenerit convocat a micas at viainca, dicenE Con, gratuimnini rihi qula imroni drach= Quas perdides="

This vcaan knew the value of what ohs had lost and, seeking it,

ovopt her hozo carefully* not ccrolosoly with no concern at her

loss. Extra meaning In given to the comparison by the norcwl

exposition of the passage:

qui oigaatur eat per pastors=, [the good shepherd of the previous parable] ipae of per maueres. Ipso ealm Daunt ipso at Del saplentla. Et quia imago oxprimitur in drach: a, culler drachm= perdidit, qucndo bomo, qni conditus ad isaaginem Del fuerat, peccanio a similitudine sui Conditoric receaait. Cod accendit roulier lucernam, Aula eaplcntio Del cpparuit in hunanltate. Iucerna quippe lumen inteata eat ...

I ca not of course sugFeating that Ilenryson is writing an allorory,

Of lien's lose of his soul, which is not explained in the Uoralitas

and which he expects his readers to work out. But the comparison

with this Diblical passage, cnd its widely known exposition, chows

both the importance of the jewel and the foolishness of the cock

and the careless women. We shall find fenryson often uaing

Biblical stories and quotations, on many occasions obliquely has

here, to e: phasize his argument. Such a practice is, of course,

not original to hin: it is a coaion sermon device (ve have already

noted its use in sermon ranuals) C JA It was used by ray other

poets"2 Co when Cualterus Anglicuo (and all other versions of

the fable are very similar) has merely stated:

Is Bode, Tuclt YVISUILM3 , Lib" IV, f. xcli, a in col. 5210 Cfo also t. t" brw o As enele, iftýuý

j&QM, ", clxv, cola. 413-4. 2. Ct. for example, I. E. Kacke, 'Ibe 2r-njjS3A 2gEM in the

º lers Tale , S. P. p lix (1962 o, 47! &5W*

50"

Dum ricido todit ore tizua, dun quaeritat ecom Duns stupst invento jaepido ßnlluß, alts (1-2)

flonryeon has sketched the character of the cock and the value

of tho JcQ®1.

Aa I pointed out earlier, flenryson took the outline of the

cock's epaoch fro= Me eourceu, but he has expanded it conniderobly,

placin. g his oirn onphaaea. There are two points to be noted

particularly: the first is the we r in which ienrycon uses

rhetoric to present the cock as a fool. The poet dcvolopo the

addreae to the jacp into a dill apoatrophot 'o gentill gem o richo

end noble thing ... ' (79). This deuce (oxciczatioI) was usod for

cubjcota of groat irportcncet Faral2 quotas Corniriciua' Rho1oric2

c4 x_r2 ninn, IV# 15 which otataa that it la uocds 'cum rol

cagnitudo poatularc vidcbitur'. ßcottrol do Vinaaur3 otatoa that

trio ctfcct occasioned by its use is:

... c1Em tolle s. Diutiuo cur©a Paccia~JD ex variia of ditlua, hic cibus curs Cuan. o vcnit oapiduo at odorifcr at protiosuo (269-71)

Geoffroi aloo otatca that tho devtc© can bo uced for ridlculouo

ettoct. 4 In trio poch wo are precentod with a farmyard cock

cdcrecaing in full rhetorical etylo something it has dug up from

the dun, &heop while scratching, for food, sozathln, & which It considers

ni Do used decoratively by royalty which is in reality of little

inportanco. The final two stanzas of the cock's speech reinforce

the Impression Calned from the first fern linens the cock quotas a

1. Gee ßcoftroi do Vinocut, 22c=optwx d Ar Vor a, III 11 250 ad* Z. Fatal, Trn3 iuu I12o

Recherchee at Docuaonto our la technique itt rn r© du soyen

Age (Bibllothaquo do 1'f-colo deo IIautco 1: tuc1en: L clcncoa Illotoriquoo at Philologiquoo, Iucc. 230, Paria, 1924)s p. 276.

2, s. Faral, Loa Artn Po(IU-1u , 92. it. , P. 71. 3. Pootria Nova, ed. ? aral, Ler3 Artn Pp tinu. i , or). it., D;. 194-262.

4* bbIde ll. 431 f1`..

51.

proverb to prove Ito point (102)9 a common rhetorical devices and

continues with involvcl parailolicnz

ýQr c il(l nak thl tributatioun quh irru1 taw dwell bot in a ryall tour auhair s' 1d thpx sit b new kingia croup (l0irº8)

The rhetorical structure - and through it the author's indirect

criticism of the cock - becomes obvioue. l The cddroon ende with

the cock'o ridiculous decicantion (not found in the sourcoa)t

rye gentill Iaspia of all atoms the flour Out of this as and pas quhalr thow suld be (110-1)

The second point to be noted about the cock's speech It the vey in

which Uenryson emphasizes that the cock is solely concerned with

material thinsa. It seers to realize the value of the stones

it "tutes:

""" 0 Eentill ge= o riche and noble thing (79 and thaw co doir and worth so urekle gude 84

... thy grit vertag nor ylt thy cullor olei 86

... gentill Inspis of all atonis the flour (110)

and it constantly emphasizes the stone's right to royal owncrohip (81; 107-8). This is a change from the sources: Gualterus reeds:

GI tibi nunc easet qui debuit ease repertor Qua= lizus ce; ellt, viverot arts nitor (5"6$

But there is drm tie Irony hero; tho cock is spooking the truth,

even trog the point of view of the roralitce, but dodo not recognice

its full irplioationa. The ; cop, It slurs, Is for others: Ito

dasiro is to fill its stomach, to enjoy material comforts.

Throughout the speech there Is a conatcnt emphasis on its own desires:

1" Ct. Denton Fox, 'Henryson' e FAD' ,o.,,, i t. , pp. 343-5*

! i2.

... Thocht I the rynd thaw gams rocht for as (80)

... And thow to me ßa tak bot littill choir (88)

The cock specke continually of food end it© otoaach'o nocclot

... I laufe for better thing of lee availl as cafe or corns to fill mW to, r4 entroll (90-1)

It wants rood toi 'do s at, 1 guile' (95). colour 'ia noobt aan7ch

sW IM to feid' (101). Similar phrases abounds 'Dorne or drat

small worse or naiilis / or ony melt' (94-5); 'Thow bee no corn'

(99) f 11 Wald suz melt hat' (103)1 'bad I dry bread' (105)o It

does not remerber that 'Hon in solo pane virit homo'. The conäerr-

nation of the cock implicit in this speech - it is made to appear

foolish, self-satisfied and materialistic - accords 111 with Stearns'

statement: 'it is impossible not to sense the poet's cnuaed

sympathy with the poverty-stricken Cook's airy dismissal of the

jewel and his sturdily independent advocacy of the simple way of

life. ' 1 Again we sen then that Henry son has taken the bars outlines

of his story and ballt it into a considerably more complex - and

I believe more convincing - work of art.

Whereas the previous versions of. the table. usually finish

with the 11ne represented by 112, Henryson further eraphasisos the

cook's foolishnosa; it leaves the jewel (r= law rpone the ground.

113) and goes away thinking only of his stomachs 'To seik sum molt

this cok hie vayia went' (114). To end this section of his poem

Menryson adds the humility formula, and a further emphasis on the

tact that he is taking everything from his 'awtour' (117-8), topol

1. T==oetri of Robort tien p gitL,, p. 108.

53"

which were diecussrd in connection with the prologus. He 14 not

pretcntious# using high-clown rhetoric like the cock: he rollowe

his 'uwtour' and writes in 'rude and haze2y dyt' (119); the cock's

words were not to be trusted - his are.

The woralitas shows iienzysonl A creative talento in much the

same way as the table itself. Thus, for three etenzae, the poet

expands upon the virtues of the Jncp" I have not been able to

find the particular nicaiticanco of the ', roporteio cevin' (13)),

Indeed it Is impossible to isolate them; however, seven is a

Perfect nnaborl and this tact may have eo=o relevance for the stono allegorized 18 a chnra (a turtbar addltion by the pout). Uenryson'a

interpretation of tZe jaop must be discussed at longth. Of the

sources, oualterua interprets as 'Sophia' (9)= the Ioopet de Lyon

as both 'L'avoir' (25) and 'Sapience' (29). iienryoon's terns are 'prudens' (128), 'cunnyng' (128 and 148), 'deidie of vertew'(129), $science' (137,143,148,154,158). These terms see= to translatog

mad to extendo tDo 'savolr' and 'Sapience' or the Isopet do Lyon*

'Prudena' Implies aoze measure of vladoz: in Lt}e Jaga cnl-the-!! oi o

hoop's fables are described as 't'oll of pröwdena and soralite' (61).

Cod's Judge: ent, understanäing is his 'prudens' (Are Prayer for

2. Ct. Z. R. Curtiuag ^^^r. L2 nt r in the Li n 1' d r, 2n. c1t. 9 Faccuraus XVII Numerical pot egRe, pp. 510-14* 1ro1eaacr Dcnton Fox te118 me that he feole thlo stanza woo probably an original sketch which I! enryson intended to leave aside. He intends to omit it to his forthcoming edition of the Fup1 11e.

54o

the Peet 67 ). Eisdom, or judgement (discretion) would then seem

an apt translation for the term. 'Cunnyng' usually implies

knoolodso, skill or ability to carry out eomo deeire; in The ox

rTyl the Cock IIanryaoa writeo of 'brutale beietia't ýý ill ýiiýý

So different than bcno in proportoio, Unknavin unto man, anti intynite In kynd haitand so tele diuereiteio Iy connyng it ezcediß for to dyte (8-11)

Th r els or Medecynes

Because I ken your cunnng in to cure Is clowtit anä olampit and nooht wohl cleird (14-15)

'ßcience' is derived fron the Latin 'Ocientia', and as tar no I

have been able to discover olwayc conveys the coeaing 0knot18dCo".

It Is not alwc/s a praiseworthy thing in IIenryconf thus, in

The pox Md the Nobs 'ttreir wolf waitskath, in science wondrous

ale' (5l). All earlier and contemporary ozaziplas in the N. L. D. :

contain thin idea of knowledge. One is particularly intorostingf

the prologue to The onafo of Pprtanays

Who aryl know and enquere in what m=ar vgao By so " lwid merulous auenturas

Which came unto Bondry creatures For to conne it is an excellent thyng

And cause of cr dannye preferring Aa rosa 1a abous al rloures most tin.

Co is ecienoe coat digne or worthynaaae do noght no Can, noght "irth !o to aeuine; (101-8)2

1. b

wamt 2f 1.38 roads 'prudence and policy ar anyet our vr o'. however, I prefer not to use this

as evidence because, as will be seen later, It is very doubtful whether the pose be Hcnr son's.

2. The R mg or e. ýý of I. va ,a fifteenth century translation rrom the Y rench, . View* Okeat (ä. E. T. ß. 0. O. 22 p rev. oder. , 1099)0

55.

So 8enrison'a ideal &a=& to be the attainment of knowledge; but

not of knowledge alone, but of judgement And virtue as well. It

conprehenaive term would perhaps be visdoa. This knowledge will

last for eternity, the poet states in a paraphrase (11.138-40)

or i: atthev vi, 19-20t

'folits theaauriae vobis theesuroa in terra, ubi aerugo, at tiusa demolitur at ubi fure" eftodiunt at tui antur. Thesaurizato auto vobis thesauros in aaelo, ubi neque aerugo, neque Linea dewlitur, at ubi Eures non errodiunt, nee turantur.

: he Book of Proverbs le of particular interest in examining the

properties of the hasps ii, 10-12t

ßi intraverit aapientia cor tuum, et sign is anisae tuns plncuerit, coneiliwn cuetodiot to, of en a 8orvcbit to; ut eruaris a via male@ at ab hoeine qui perversn loquitur.

170 compare:

prudene and cunnYng ... caki © man ". " Happy cM stark to half the vioto Oft all vicio end sprituall enemy 128-33)

with these lines aid with the stanza rollowing, it is intorosting

to cos; are Proverbs, fili, 12-16z

Ego sapientla ...: laus eat consiliua, et aequitasj mes eat n entia, mea oat Sortituio. Per me reges recant at legua conditores dusts decernuntf per me prinalpos i erant, at potentes decerauat justitiaa.

Again xz iiii 2:

Propter piooata torrae multi princip*s ejuaj et propter homiuio sapientinm, et boruw gleAtian quas diauntur, vita duals longlor Brat.

56,

Again iii, 13 ft.:

Beatus homo qui invenit sapiontla9, at qui aftluit 12rudentlno 'olior eat acquisitio cjuo noEotiaL offne argcnti, at nuri priori at puriaaizi fruotus ejua. Pretiosior eat cunctio opieus, of onia quao dosidorantur hula non valent couparari. Longitudo aiorua in dextera ejus, of in ainiatra illiuo divitiae at gloria. Visa ejua visa pulchrae, at 0=08 B=itaa illius pooificae. Licnun vitae eat his qul apprehenderint eamp at qul tenuorit cc= boatus.

The fact that viedo-", cannot be bought with ratcrial wealth (cf. 1.151)

is also stated in Job x viii. The poet has thus emphasized, cad

aztcaded the reference of '8avoir' and 'Bapienoo' of his courcoa

by direct scriptural quotation and by passages which at least recall

Biblical parallelo. He has also done oo in his eo-callod 'rude mul

hcnely dyt'= alliteration in 'gentill loop ... betakinlo perf'yt

prudeno and cunnrn6t(127-8)j Intensifying adverbs in 'crony doidio

of vertev' (129)j 'oft all Yicis' (133). There is also rhetorical

parallalingi

s ý+ be ryoht hardy and gratlous , vihn cnschew psrrell lard venture

Qon. ru citis and burchgus wu out science ... (134-7)

The portrait of the tool le aimilurly extended* it should be

noted that the oomparieon of the Wise and the knowledgeable man

with the tool is one of the most repeated contrasts in the Book of

Proverbs. The following phrases seem of especial Importance for

our pout it 7: 'Capientiam atque doctrinam stulti despioiuntj'

1,22t 'UslueIuo, paruulig diligitis infantiam, of stulti ea quas

aibi aunt noxia cupientg at imprudentes odibunt scientiom? '

xviii, 21 'Fon reolpit otultus Yerba prudentiae'"... In linen

146-7 tlaar'son paraphrases directly part of 1 atth w vii, 63

57.

No1ite dare sanctum canibua, neue nittatis ßargarltuo vestras onto porcoo, no forte conculcent sus pedibus suio, of converal dir=, pant voe.

Once again It tuet be emphasized that fenryaon Is using these

scriptural passages obliquely: it is his own interpretation that

'protiue etonie' are argunento, not that of traditional co=entary.

But the use of the passage serves two tunctionef it is used like

a proverb# a well-known phrase reinforcing the ardent, a common

medieval rhetorical device, and it also gains fron the Importance

of the Biblical context - the foolishness of the cock appears far

tore culpable, far core serious. While dealing with scriptural

reference we abould remember too the parable or the an who cared

solely ror earthly things: ßt. Luks, xU p 16- 21;

'üontnis cujuadam diultea uberes fructue eger attulitf at cogitabat antra so# dicenos Quid faoiau, quas non habeo quo congregem fractus ateos? Et dixitt hoc tackst dectruaa horrea mea et majora taciams at illuc oongregabo, omala quas nata aunt aihi, at bona pea. Et dicam animae meaet Anima, babes szulta bona poaita in snnos plurimosj requicscs, cosede, bibs, opulare. Dixit cute. 1111 Douss Stute, hao note cniman tuam repetunt a -to; quas autem p rasti, cujus Brant? 81e eat qul eibi thescuriaat, et non eat in. Deun dives'

Henryson ends his fable with an added toposs he beooans the

state of Ui world (in laylled. oomparison perhaps with the

gnnien or wen). Ile use$ the device several times in his own

poetrys in _l4LLion wid t

º in this warld me think rycht few or vane, Eodis word that has devotloun (71-2)

The Dor, the floh i'n the 7QLf s

i rev or nano will execute luetice In talc of q ubo" the pars an is our t hrew (157-8)

58.

This device is a coamon one in medieval Dootry; 1 the idea it

expresses is even more wide®preod. 2

I have triad to show hoer Nenryson, largely by the rdaition

of old devices to en old story, (the chanson d'oventure cotting,

rhetorical formulae, scriptural quotations# the humility formula,

the laudatoc temporle act i) hao Sande something new. As we have

seen, hie ideas are not news3 we noted the 'Lavoir' and '©aplence'

or hio source and the parallels in Diblioal patentee; cM the

following passage fron a poem in the Llber P 1u s card end, has

conelderoble relovracei Quhn weld be rpcbe, have Co til honour cy;

For riches lolovls honour euir hair. Til honour eisdun In the noreat way

And "iadum to vertu is the verray air= And uortu cummis or science and of lair,

And science canals only of Codie grace Con ueste throw rude life, Treuale and besinas, ý

But in this new context the idea tckee a new forces a new

image has been proyldod for it, juot as Chakeopeere provldeS a

new 1x e for ooc onplaces in his history playe.

I* Cee my work on the minor poCas.

2. Ct. or for eau=plc, t _n the_ 21m_, ed. T. alright, Poo1I%ic, n

Cwa "n Society. VI, London 1b39)1 pp. 195-2C5j Cazton'o Q+, op. cit.. P. 61; Hocolove'o Rg&ewnt "noes , atanzae -399 PSe tied 726 tY. Aloo

f. t. ut L atu ap ? rx1 odn. Out'orap 19 DärL ar chapters V-VII and JoWo Blench,

- tivuv, 1y Wh We 1 ..

3. I suet leave aside the problem of the inrluenoe'of the educational ideas of Italian humanism on Henryson's work. It will be dealt with b7 Professor John Msot; ueen in his forthcoming study of Henryson. The sore general effect of Italian Hunanie* on the poet has been r, 3geated by L3. J. Barth, COMOD112n and Cr'srtlon In the Po _lry gr Robert ]renryson, . J-1ker P cjacnnAen , ed. P. J. Okene (üiotorie ns of Oootlwnd, 4.

k n5ur h, lä77)

p" 395"

59"

(iii) The Ioue and the Paddock

Thera ooea definite indicationo of tho courco of The Voijg

rnd th, Paddock. The trcdltional coralitaa to the fable is tho

folloving, which I quote fro= the Vulgate fowuluo: %u1 do caluto

altorius advarca cogitatp non effugiot xalum'. I A large group,

made up alcoot cx lualvely of vorolona in tho exempla colleotlona,

alleeýorize the rolatioauhip of the anizalo an that between prelotoo

or priests cnº1 their chargeg. 2 Othoro likcn the Frog to the

Corld: 'ttundus similio cat Raney quo blandiendo Yuri pr=18it 00.93

The ccntion of flattory here Is interesting; wo shall diocuao it

later. But there Is little evidence of these three comzon

interpretation in Hcnryaon'o rrorslitao. There we are given two

particular czphaaou: a criticism of thoo© who deceive with 'honied

eords'i* and an allegorization of the animals' ctrugglo as that

between body cnd roul. For this latter I have been able to find

no specific parallel and I believe it could be L'artryson' o o-in.

There ion however, one moralitaa approaching Henryaon's intorprotationj

1. Htj-rJ4weLnn ; ison, cd. Öaterley, opo cit., pp. 82-3.

2. Jacques do Vitry, Cermo I cd prelatos, ta ;am sr, Qt_, lit 3531-6 more cxteneivo version Is given ere than g rane, III, p. 1)= Odo of Chariton, Iiertieix, iv, 195; Ctophanue'do Dorbone, H. M. LW. Additional 28682, fol. 260; D. Y. LW. Harley 268, fol. 33bj A. u. 1ýO. Barley 2851, to. 117b; f romyard, Summ PPd 1c ar 4u lnci P. x111 (Praelatlo) , 37.

3. Odo of Cheriton, Lervieux, iv, 406-7; D. U. US. Harley 3244 fol. 81b col. 1= ý IT. C. L'Z. 267 fol. 101 cue der Dibliothok. des Dooea zu heiße - Liermones do Te=pore in a manuscript of the twelfth century - 11g. J. flapper, Fxe 1n ueI ct des Mittelalters (Ga®elung Mittellateinischer -texte, hg. Alfons Uilks, II, Ucidleborg, 1911), no. 111, p. 76.

60"

it is found is the Berne Roaulue, 1 and it states, after the

rarest sketch of the story: 'sic maiores at minores inter as

disceptantes. Sic etiam dyabolus cnimam at corpus diaaipat. '

There Is no other manuscript extant of this version, a fact which

scarcely suggests that it was widely known. Also, Henryson has

discussed elsewhere, as we shall see, the conflicting natures in

an - his interpretation here could well have been suggested by

that treatment rather than by the version I have quoted. Even

if Henryson has taken a part of his interpretation from such a

version, he has developed it considerably.

Again, there is no specific parallel in any other noralitas

for the first part of üenrgaon's interpretation. But there are

several parallele to be found within various veroione. We noticed

'blandlendo' In the verelon, based on Odo of Cheriton# which

allegorizes the Frog as the world. In Cualteruo Anglicus2 we

rind:

Omne genus pestle superat mens d1scona verbis, Obsontes animos florida lingua polst (3-4)

The Isopet de Iyon: 3

Langue taut pis qua nul raige Qui ne e'acorde a son coraige Lea paroles qui de Euere oignent Celent lea saus qui lo cuer poignant (17-20)

Isoet 1 :4

Pour ce eat ce trop grans penis ctuant la bouche au cuer ne s'acorde; Tels a pensee via at orde Etui tout a douce la parole (8-11)

1. Hertieux, ii, 7589 2. Bastin, lit 9-10. 3. Bastin, ii, 89-91. 4. Bastin, lit 207-8.

61.

henry aon hao taken an idea expressed in Me sources within the

fable itoelf and Bade of it part of hie moralitos.

In the fable itself we have an even more opeaifia parallel

betiean tienr7son' e table and the Oualterua traditions Iienryeon:

Than Pute for riete that' lap baith in the brine Bot in thair tyynd thsiy were rycht difforent (99-100)

auclteruat

Fes colt ergo pedi, oea cen© a mcnto recodit X7)1

Ioo of de Lyon:

Pid a pid to aunt ajostoca, Uals desJointeo sont lee pcnseee (25-6)

Ieopet I:

Or eont lea pl4a lids ©naasble Os lea cuera divers, ca me enable (15-16)

Another point of interest Is the fact that, except in the Gunltoru©

trr4ition, the Louse aura for help to cross the river; in the

Gualterus tradition, and in fonryoon, the Frog offers Its help.

go may also parallel parts of the ©pecch of the Frogs

q echo ©later lat be your havy choir Do my counaall and I call tyn4 the any (24-5)

Icopet do Iyont

Loot antes lesaa* Dole eser" ®Dies contorted: Jo von r-strai a auvotey (9-11)

Thus we cee csoln Uenr7son'o reliance on the Qualterun trc4ltlon.

Fron his sources Uenryson obtained the basic story -a Uouce,

viahing to cross a river, is offered ais by a doceiving Frog.

10 The parallel was timt noted by A. R. Dtebler, Hcýnrýesone'v Zabe dichtun9sn. oci .9p. 83.

62.

Thai tie their legs together. In the middle of the stream the

Frog submerges, attempting to pull the Mouse to its death. A

Kite sees their struggle and devours both. Henrycon has also

obtained the idea for at least part of his moralitas, and also

certain cxDressions in his text from hie sources. we arc now

in a position to see what he made of then.

I shall discuss separately the two sections of the moralitsa -

we have already noted that there are additions themselves - and

show how additions in the fable contribute to the exemplification

in these sections. The first three stanzas, emphasizing the

danger of believing honied words# are, an we have already cceni

an expansion by the poet of lines found in the sources in the

fable itself (though to this he adds advice not to be 'nachit with

a wicket marrow' 1141] which is not to be found in any of the

sources but which is of course traditional). The problem is

also discussed in other parts of Eenryson's work1 and once again

we can note verbal parallele betwoon passages of oimilar these.

Aw'dis He sty CtredsrceoT11l let

It is the grand of stryt and all distance soir perrellus than ony pestilence Ane lord in flatterreris to half pleaanco Or to gif lyarls hcatoly crodenco (29-32)

The following cztracts from our poem show clone similarities:

It pass tar nllrnd of pestilens A wicket rynd with wirdis fair and she (136-7) Grit folly is thairfoir to gife credence Our Bono to all ti. at upeikis fair to the (144-5)

1. There la a possibility that I! enr^yson's preoccupation with this problea reflects contemporary events. Consideration of this, I leave over till dealing with e Fos ! gg he Cock.

63.

Again with: 'Ana blady tong, undir a fair pretence' (Ac-Pnia _lial

ety

Crence, 54) we co : pare, from our poem; 'A taus intent vndir a

fare proteaco'(142). very similar thought and expression is

found in the roralitae to The, Fo=_, and the Coy t

This tepnit fox may Vale be figurate To flattcraris with plesand wirdi© quhite Oith Pale zoning end south mellifluate To loste and lee qik eottie thair dolyto All vortby folk at sic sold We dispyte Ffor quhair is coir perilous pestilence Than gift to lierio hsietelye credence (201-10)

The cooaon occurrence of this advice in tecieval poetry, and also

In 13orlpttue, I shall show In s analyala of ani ltaintg Credence

of Tittarie. we ahoula also note advice against boing 'machit

with an* wicktt rsrra, ' in Nicol© Bacons1

128 De aale aociotate fugionda Ariatotil dit en con livere qL of poleync ten juvento) seit del let do acne norri, qe cely Quant vendra on age querpira as nature domeigne, a par la noriosaunce del let lo nano qo an juvento sd receii, as joyndra al acne. Auxint meynt homne par fol cozpniMio an juvente est bony an are, ci con avant a Roborn. Pur coo dit le leint Toprits N31 von recevea on compaignye (boa e do entraun e nation, 11 bestornera vostre sanere a vos ao"nera hors de, la dreit vole. " fei edri to ni i nt nenn,

bvs et to et e le aiav

_, __nri o. Yrovor U.

Boson then recounts the fable of the buckets, this time using the

fox and the nhaop as hie protagoniotß. Ile conaludeat

1. T o%v%t ttoralxe4s, Sp. cit.. PP. 150-1; cfe aloo pa, 1ozi apt z

e e, 4. , dial* 49s p. 192-31 Chaucer, Pnr

638 i. o baon p. 248; Jean Tenniseaxt TAIýSr. et de Pai: o i: orsý . 28 r euao, (Fur- Sz, 50

chapters Y-vii- - enness" - rk i" ä pro" version of Rgnart It tfoael with morel lossons drawn from the stories tolc1.

{

64"

Pur ceo di t UALA1: O11 Prov los "ßi lui aauvelo ho=e to prie de aver to compaignie, veiete qe voua no nseentez eye. " R!

_ to

" tore nt eAo e© fl e od ui an 11119J 1d xerintt yen noblecux, etc*

in tormal matters too comparisons are interesting. We compare

the rhetorical deirices 'Grit folly ie ... ' (114) with that uaoä

is T he ºa21ow r. ýýrýýý r-^, Othi r. r ri. ý r Birdi riirýýr e: 'Orite f2ule to he ... S (239,

421 143). The three stanzas of this part of the moralltas use

the Monk's Tale etraza forms it is used, as i hope to show in

qty otudy of the e. 1%orter poea3, in n: zit of the overtly didactic

poems of the fifteenth century= as eight-lino stanza, rhyming

ababbcbc with the last line a refrain (it is used also in

the ®oralitce of rho Two M). Again then Iienryeon has ueci

traditional forma in expreseing a traditional concept - but both

form cad concept are new In this onniron ent. Uanor of the additions made by tr., poet in his table serve

to atresa the thc. o of flattery# even if indirectly. The reason

for the house's with to cross the river is new to this version:

Ir' aanY there is no roason given] In two other types food in

mentioned# but not in theca circumstancess in the branch of the

fehle represented by the WO Rouius, by Eiarie do France end by

Iydgate, the Louse has been invited to the Frog's home fora meals

in the lsopet d" Lyon the ! Some has been out seeking food and

finds her vu homo blocked by water* But tho Uouce in our table

has different reasonat

: oio thow q echo of oorne yono loly flat or rfp aitia of boir of pole " quhalt I an hungry and fan. wall be their at ...

... And on this acrd I get to thing till sit Bot hard antis quhilk with my teith I boar War I beyond any felgt wai4 be the moir (15-21)

65.

She is not content with har on lot ands being completely unable

to cross by herself, (as emphasized by the rhetorical paralleling

and alliteration of 11.3-4) is predisposed towards taking any

kind of help offered ('Lat be preching q the hungry aouu' 75)"

ate reeezber and compare the state of the mice in Tho Twa Pyi e

who also put themselves in great danger by discontent with 'iTidcierit

polo and autis' (61).

All three parts of the debate (for the argument between Frog

sz4 Nous" 1o in debate form, as we shell see) are innovations by

Uenryaon: the question of how the Frog can swim= the dispute on

physiognomy; the dispute on liberty. The oecon3 is of particular

interest

The Dona beheld onto trona t face IIrE runclit belt and l'ppla qyd

hyngand Brovia anI voce so hace lograad ieggia und

2! ý har sky b r1. (43-6)

The Louse' a k=-xlcdgo of 'rya=1 y' (68) cec o cccurate according

to contomporar. -, taxt bto. 3ho naintaina Ito value (50-6)o

And clord e ¢2 a: q

That Phis zwa ra is a neceeearie scyenco to ]snore the 3tanern of can - Capitulum LVm. ... But for - alo - mocha as ctronno is to fynde end knowe ccm 'conea cnd good vcrtuo3 and manerle of Popil wythout lonEa Trowe, hit i© a ful couonabillo and profittbill t enge to euory Prince, that he c. ne tho acyonce of Man y, by wycho he any kncx by atght ovary can Qt wyrch nanerla and thavio he cholde be by kynde

In comparing the passage In iic: rloon with appropriate passagoe in

the text3 of ': jranoW', I realize that they are not always exnotly

1. _ m! co of ___s

trannlatea by Jameo YonCe (1422) , Te prose yersaone or the Secrete JAQretoru*, Pt. It

It* Uteele (E. ý. T. t3. ý:. tý. 74,1ß9ö) p. 216.

66.

parallel. All ca^parieona made doo however,, have points of

interest. Fron the appearance of the Frog, the Mouse conaluden

that She heat 'Dun paarte of fraid and ole invy' (119). Facet

As from thy Eneu ! le his presence Which ß-coaplyeshcd in noabryo Organyohall

IC not anä note Chia sentence, Ffor c voyll of tbj excellence Royals Ptroom hyn that lu looke thou ifal,

Uar; grd in viauge for lerne thin Cojolucyoun he is dlaceyvable by dlapo81c10un.

A sign of a bitter aani he hast '... a lone Tiaage and lrouaaat'. 2

Tb4 eyebroaas

And chooso beer thykke doth bore On the brovya is a ahrerd apokere

Drowrya large to tea; lys ech atrecchyng, 3 fý 81Ene of by that falcncace cyl ©: yntyne.

Ilona:

Pferthere take heed to ay doctr. rne large none in s ddys which doth vp ryse

Or a 1yere and greet spe»ng Is oigne An cold philosorrroa alorly doch devioe;

Voice: 'Ito that haue a grate voice and orible and not ful hey,

done gladly wron ea, ana bone lixcnyd to acelo"'g

'Groat voye eigne of haotynoooo Great saznyng Envyous and llrsgr. T "air and hih or wyldeneoce and rfooly'6

Lego: 'shoo bath great foot vntrowthe vyl nayntyne'; 7 'The tokenya

of ills cozpicxcioun ... the Y ja longo legges'. 8

19 I, Ydgute and Burgh' ef ee 12; r 214 i (e version of the S nfL ado R" Eitee e. c"'ý " ti. ." 66# 1854

no -. 2. 1C 22,12 1n^ nce S =Cog, pD , p. 224.

' 3. jr es qr o14 Fi 1s sorrrea , 9D. 2614-59 13.2610-1# 4. ii 11.2626-9. 5. Ted r 022 2_ rrv ncs;, sm. ell.,, P. 231. 6. 0i4ro o or pd -E. ý Ph111n iýrrr. rý a, ttre rirrrr. ýý v, ot.. c t., ý 11.2651-3. 7. jb14.1. 2678. 8. 1'he 02ne rnnun e of PrY rcen, p Site , p. 223"

67.

The poet Auto into the animal's mouth the tjpiaal nethOds

of arguaent of the debate torus the oitinß of the authority of

the wies ('For clerkis cxz ia... '), of proverbs (55-64 of Scrlpturci

11 fzrnd in ccrlptor, in a place (62). The reference scams to to

to John fii, 24 'halite Zudicare aecundum taciem, sod justua

3udicinr judioate'. The Frog seeng coapletely aonvincinat her

Coriptural quotation refutes the . ouse's ph siognomical and

proverbial lore; her arguments app thoroughly reasonable and

orthodox:

Th18 dlftarens in to=e and quality . tlr, ychty god L 4s caue1t d=o natura To prent and cet in every creature (68-70)1

People are not to be judged by their external appearance:

Ott sum tho face any be rycht tlurleand Pith cilktn tong and chelr most cWoru"

With Erna inconstant tale and variand Ftcill of diasatt and mono eaeitelua (71-4)

The Prog hao deocribcd harnoll: true, she has not a tacos 'rycht

fluriaan3, ... nW choir cant rzoroua' but cho hum 'a ailkin

tong ... With ,. Val lnconztrsit. ' Ironically tho Louse' e physio-

gnoaical lore turne out to be =ore accurate than the Ccripturs and

reason which the skilled deceiver has put to her on use. Dimilarly,

In l�hpuo2c en tbeg, folt, the Fox's astrological prediction (aý sign

of his folly cd superstition) turns out ironically to be true,

though not because of the power of the stars but because of his

own tally.

1. Cf. Ihn PNrlieffiiont of Poelp, 11.379-3l. Saturo, the vicalre of tho c 1m7Ehty Lord, That lot, cold, bevy, lyght, moyat and dreye, Ucth knyt by evano noumbroa of acord ...

68.

In the third pert or the debate the Lou" at first objects

('To prelf that play it Fror our perollouo' 84 )- an addition

by the poet - to being bound with 'double tw7nnit thread', (80),

with knotis L ft (81) - (the eoralitce warne acainst beings

'oachit with a "ickit marrow' [157], of being bound 'fast quhair

tbow was frank and fro' [151]). nut the false will even smear

an oath (another addition). The fact that the Frog swears to

Jupiter is probably of iaportaaoet earlier oho referred to

'6arlptor' (62) 9 Quoted an example from it('1oly abealone' 66 )9

und opore of Al. ighty God (69); now her oath in to: 'Iupiter

of natur £od and King' (93). The false Fox In The P izn the 'oll

e thg -C-bdU*ar also swears 'tie Juppiter' (76). The addition

then have emphasised the point to be made in the noralitest they

have shorn how plausible a person can be. At the end, the

cphaaie (brought by heaTy alliteration) shows the dmgers of

believing such. The kite slow the animals 'but petyº' (126)s

aGYAa nd belly1tlavcht full af

tlyeherthwith big

oo tlaid. l(126-8)

The accoal portion of the roralitas is of a very different

type from the first. Whereas the first had the character of nn

ozezplua, with its moral lessons obvious from the fable itself,

the second is an'alleeorization's we might perhaps compare the

tro; rological and allerorical levels in Biblical interpretation.

In this section the stanza foam is cRain the rhyme royal. l The

Pßddock Is zan'a body:

1. Ct. Harvey roods ew ran Fables; gý . it., p. 251, note to 1.2910= he Implies that "a comleto moralitae is in this form.

69.

tgw he M lnw qubyle plungit vp enä down Ay in to perrell and redly for to droun

tom dolorous now yth as Qird on D-roir POW in frodoae j2SLv wardit is distree

haill now pound ng deid now krocht on bear

, tý. !, ýo*aie 117 nSL brattie to Iabao }�+ R1 uri Ijrocho tea biungry an a bound 1 s,,, on the Qu-beill now "applt to the ground (165-71)

It would be idle to illustrate how common this conception of

Fortune's power is in aedieyal writing. But Henryson has given

it now life in introducing it to this Fable. And I think it

valuable to note flenryson'e use of this particular rhotorical

devices C ith2 calls it a common tienrysonian device, end so it

iej but interestingly the poet uses it# or a variant on it, in

those passages where he eishes to saphusise the idea of the

vulnerability of son to Fortune. Thus, in the Tw , the

Country Uouse is tortured by the catt

qubylo vp auhil" dour Als talt as any k1d auh. le wild echo lit bir rya Yndir. the stra Quhyle vald saho wynk arid;. play with hir bukhid (170-2)

o Mio and Fveydloes man's

grit solicitud quhyrie vp quhyle doun to win this wcrldle Vad (515-6)

Thq! von rn4 the Vouget the lion in the net of Fortunes

Volucu about with hiddous rormi®aing uuyle to quby1e fro 81r he wicht succor get (204-5)

1. At this stage in the thesis I unlerlino rhetorical paralleling (in black) and alliterative patterns (in red - alternating single and double underlining to ditterontiate patterns). Later, once the devices I an pointing out have been recognised. this will not be necessary.

2. Poems, RN Olt,, It 24t Dote to 1.1517.

700

The 'litill mous' -I discussed earlier the referenoe in the

tale itself to the easllness# the helplesanes" of the House - IQ

the soul. In other poems lienryson has shown the dire effect of

carnality: in The Givallov end Othir flirds the poet described hoes

'carnall lust grow is tul grene and gay' (286). Th* Fox end the

E=:

Sum bane a1a throw consuetude and ryte Vincuot with carnal eensunlitie (169-70)

The image of the sea or water, in its constant changecbleneaa,

representing the world was coon in all typen of medieval writing.

In sormonat

By the see in scripture Is undiratond the worlds "Hoc ears, egnum at spaciosus sanibue", In Psalso. flow to spoke goootely, the see Is not als but redines to gynne. And that suery man and wo=cn ... was borne aftur -Adas. But sum were raveehed of this floods aM borne down Iowa in to the depnes of the watur. Tho be thise that lyven aftur' the lustes of her fleash. And sui 'were swys yng eboven ý the, watur and conics not as lohn Baptiste and many othur 0002 For schip tlatea on the Clods

$nd hall kirk wit costae gods, Plate* abouen this weridea as Flouand wit sin and caltifte..

In literature we may instance Its-use in Chaucer's Ue L w' e Tn14.4

But once cgain we must tote that fenryson has been the brat to

1. tt. 0. ROSS, L'iddle r1ls rconng, CID. alt_, p. 266. 2. lbidr p" 327. 3"

14"

Century -, e1. J. "All (kdlnburgh, 1äb2), p. 135" Cr. also U. H. 0rot, Literature a lost in L odierel FnFl°n, OP ello . DD. C8i 7. For discussion of euch reference& see John U'ucQueen, 'Tradition and the Interpretation of the Kinrio Cuai' , H. &22.9 New Geriee, xii, (195a) l2Li-6.

71.

Introduce this interpretation of the stream into this fable.

A struggle between body and soul seems also an innovation,

though, as "o Ga., one rare version has on undeveloped hint of

thio interpretation. Again, the idea of such a struggle was

oOs on*1 sankind'e three greatest enealee, it was repeated

eadlesol, 3r, were the world, the flesh and the devil= and the

struggle between Reason and Censuality is, in auny ways, another

expression of the cage idea, though usually these are identified,

as In Henryson's own Orpheus a Euraice (at* lines 427-434),

as two parts of the eoul. 2 come interesting pcrallelo between

that poem anC4 our table dzyi however, be shown:

The porfyte . it and elk the fervent lucre go suld half c1lsay to the hevin abuvo not seildin thair our appotyte is fuudin It is so fast within the body bundin Thairfoir douaeart we cast our ayndia 8 Dlindit with lust and may not upvartin fie Gould our desyre be eoucht vp in the spheiris cuhcn it is todderit in thir worldly braids Quh'le on the flssch quhyle on this xarldis wrak ... (449-57)

1. See Oalctlans, Y, 17; w. 0. Ross, cd ids 1! rersnona, 4 t: " pP" 95 04 111; Chaucer, rareon e ja1g:

An for to spoken of heole of body, carton it passeth rul lightly, si oak it is tul otte enchesoun of the alknesso of ours souls. For, tai wont, the tlessh is a ful greet snow to the souls; and therfore, the moors that the body is hool, the moore be we in peril to falle. Us for to pride hyn in his strsngthe of body, it is an heigh folys. For certes, the flessch coveiteth agayn the spirit= and aye the more crong that the tlesah is, the wrier may the souls be. And over al this$ strengths of body aW worldly hardynecas causeth ful*lofte aany a man to peril and ce achaunce (457-9; Robinson p. 241)

Ct. also Uydney J. Barth, Convention Fand Crga onin tie oetrlt 9 : x52 eraito . cit. , pp. 1U1-2 eM the rarorena©a

zero cit. U. 2. Ct. D. B. Robertson Jr., .o to Cr, C er, or. gjta t

pP" 10 6-7 no

729

But in the fable there is no sign of condemnation of the Louee

in this ways the soul is necessarily bound to tho body till

death (174-5)"

The Kite In Death - the nearness, the a11-conkluering nature

of death we see In other fables. I have shown In cry analyeio

of the sorter poems the prevalence of thlo concept in zedievcl

literature.

There re&aina the question of the rolationchip between tho

fable and this part of the aoralitsa. I think thin to be anothor

oza: ple of the type of fable reprosentcd by Thhg Poxt gj b2LOrp

the i where there is o general exemplum (there it 10 to be

drawn out by the readera, /hearere) and an 'allecorization' interpreting

one part of the fable only*' I do not see that the firet part of

our fable - the reason for crossing the river, the argument between

the =Isola - is relevant to the 'cilegorization's iionrycon

certainly hud no Platonic notion of the pre-existence of the foul;

and one would scarcely attribute to him the idea of the soul being

olcin by death. The part of the fuble with particular reference

to the second part of the moralitasg, emphacizes the bond between

the two creatures and the struggles

The jeid of neid hir strcnthia gart innre® cn1 rw4it hir defend with pony mane

the cots upwart the paddok dour can prey Quhl-le to 1ý fr®a

,g dowk cýt up cgane

T Us si-ny coin-this plungit in grit puns can facht als lang as breth was in hir braut (113-8)

As in m others of his works Uenryeon concludes his fable

with e prayerz a common device in medieval poetry ©o I have Shown

1. Ct. D-11. Robertson Jr.. a Preface--t2 Chaucer, r, oaf, p. 298-300.

73.

eleewhero. ae always it has reference to the particular tables

t ou chrgst for we that dolt on the rud of aaule and lyf an thou art Salulour grant wo to pac in till a blissit hour (197-9)

Co once again we have peen tionr-son croatina of hio original

aoaething coaplotoly news adding details, cdding forma (the

debate, the prayer ending, the £onk'e Tale stanza), adding

coralitatee stressing ideas which, although not new in themselvca,

are now in this context.

7k"

(iv) The Tern Uris

There see= to re five points particularly relevant in a

discussion of the sources for this fable. I shall deal with

Um more straightforward tirat.

The Count= Uonoe replies to her sister's criticism of her

food t

Ys Ball it hail with blyth and hairtly choir That suld aalt the agiss that ar rude among fremdle rycht tendir cueit and guile (68-70)

Three other versions of the fable contain aiiilar thoughts:

oualterua" version: l

In Lczin tenui salis oat im=eaaa voluntaoj Xobilltat -tiles trove genorosa dapea (3-4)

The French derivatives of aualtorus follow and expand thoir courco:

the loopot do Iyont2

La povretcy ea tiler richence pact de is chiere is iiesce (13-14)

It continues with the advice that all men, rich or poor, should

be treated well, advice which is not to be. found. in IIenryeon.

Isopet 13 reedst

Car mengier no punt estre vile vui eat donnas a belle chiere (14-15)

It in perhaps possible to distinguish still further. The moralitas

to the Ieopot do Lyon begins:

Qul de trop haut choir dote Ponte Salges est, as trop baut ne honte (89-90)

1. Bastin, lip 15-16. 2. Bastin, ii, 105-7" 3. Dastia, 11, 219-22.

75"

xenrjcon:

Co inter cellit is aduercitle Uith crdly Ioy no that no atait Is fro Without trublo or sum vexctioun And na o1y tha,, that clym1e vp most he (207"10)

The Icopet is the only veroion to introduce thin concept, ß

concept of which, as vo shall oeo, fenryaon makoa much.

; ho Countrf i: ouce continuous

�uhat plesans is in teiotie delicst The quhilk ar gevin with a glowmaad brow a gentill hairt is bettir rocroat With blyth visage thcn fccho to him a cow (71-4)

There Is no equivalent for thin in the French tradition, but in

I. ydgoto'a The Tale of the Fro ceend re l we find, In the

Uouso'o c eech Inviting the Frog to dine,

£ alomon wry te th, hose hit ye bet by halte A loupe of brads with rsloyeyng

Then at featis to haue a rosted ealfe With petty chero, frownyng or grogyng (428-31)

Gregory Cmith atatei that this in a reference to Proverbs vii, is

'Mellor eat buceella alcoa cua gaudio quarr domus plena victials

awn Jurgio'. But similarities with Proverbs acv, 17 should also

be noted. I quote verse 16 as wells 't: elius out parua cum timore

Domani, quta thesauri asgni at insatiabilea. &eliue eat vocari

cd olera cum charitats, quarr ad vitulum saginatun cum odio'. In

one place at least fenryson seems closer to Iydgato than to the

Vulgates 'odio, Jurgioj heuy chore frownyng or grogyng; glown=id

brow'; and we gust at brat presuppose some linkage from the fact

that the two passages are found in similar settingo only in these

1. Two Minor Poe^n of Join ii, on. cit., 57ö-bL. i oe°%i, o____cit. 9 i, xxxvi iin. 3.

76.

two poemst Proverbs xvii, 1 In quoted by both John of theppeyl

and eroWard but is their moralitateo without the einilsrities

of setting. Further evidence for the linking of the two Poem®

(though of course in many places the story told is different)

has been found b7 Gregory Csithi 'The "burden" throughout the

Voralitas recalls the last line of Lydgate'o tenth stensss

"Nor more aearerd" to styes opp7nioun, Than glad pouart with cial pocooccioun"'2

The phrase Is alßo uced In 1.3461

An can decerue, they receue theyr Cuerdon. Onrepentaunte the tyraunt Both to hell.

The pore man with small poocosalon Yertuoslr loth in the erthe dvell, Content with lytell doth trewly by cnd coil

t nä of hoole hart can loue Cod and dred© When he Coth hens bathe hauen to tiya =ado (344-50)

I shall deal with the n=e ayb, which is given to the cat in Lydgate

and Henryson only, at a later stage.

None of the texts discussed so far, cake mention of the

wretched condition of the Country Lousa'a dwelling, 3 a fact which

Hen yson otresses (11. --, 36-42). The vulgate lulus taxt calla it

a 'brovi casellu'; translating, Caxton5 daaoriboa a 'poure oauerno

or hole', the Romulus of rilent6 'des octa at viii castella' and

is flervieux, ir, 435-& 2. Fogil, g, _c

t,, i, uxxvi l-xxsvi 11. 3. V. Mouse, in Lydgatots poem, sakes the comparison:

T A her ys no lorde, zo cuatellee hatte to keDe Then I haue herpes and, hooleo in to crepe (447-8)

but this offers no parallel to our poem. 4, i teiBe�j, 1j Xg2 , ad* 0 sterley, o. 2. - cit., pp" 92-3" 5. Jacob, o cit. , lit 17-18. 6. fervieux, ii, 519-20.

%%h

the LBO Ro=uluzsl 'pcrvo foramina in arboris radical * Brommyard2

tafle of 'fosaa oeu foramen terrael. This In one of the several

points, which occur throughout the FabIll-Ing, about which it is

inpoaaible to decide whether Henryson borrowed the idea or whether

it wan his ova invention to emphasise his then: if he borrowed

it he certainly adapted it and extended it. But in view of the

unnatisfcctory nature of the evidence for the sources of this

fable this point must be kept in mini hinting as it does either

at iienryaon's use of several sources or at his use of an undiocovor©d

source. A similar point - one which lenryson could have developed

himself but which does occur elsewhere in the tradition - In the

Town L'ouse's statement that 'this rude dyet and, I can nocht accord'

(58)0 This is not stated directly in the aualteruo tradition -

it is indirectly stated in the Isopet de Lyon ('Tu noinneo Cl

cout powre vie', 39) and merely implied by Qualtorus himoolf.

But in the LBG Romulus we find:

Contigit gutem Ut Use uno die do forcninio anEustia querulosus vieret, at cibaria lila minus aaporaaa fierent, at hoc ease dicont.

And in Marie do France: 3

Quant ale of piece iluec esti A an cuapainb cd part Dist quo *is cities eat mauveis. E quo el no volt demurer mess; (15-18)

1. flervrieux, ii, 571-3. 2. Uumse PMdicantium, o D. ci .,, U. viii (Miniotratio), 31. 3. Exert end Johnstone ova t. , pp. 9-10.

78.

The fourth point in this discussion of sources concerns

Henryson's use of the cats in aualterus and his followers there

is no mention of a cat: the steward's arrival suffices to warn

the Country Mouse or the dangers of town life. And this is the

case with all other tellings of the tale except those of Odo of

Cheriton. and his follower John of Sheppey. Leaving aside these

two versions for the moment we must note that, except in the

Gualterua tradition, the Romulus tradition, while describing the

first incident only, contains the following warning given by the

Country Mouse to its host (illustrated here from the Vulgate

Romulus):

At tibi omais sollicitudo at nulla eat securitas, a tenon teneris muscipula, a catto captus comaderis ac infestuc ab omnibus eXosus haberis1

The LBO Romulus expands: 'catti quoque prooipue cavendi aunt

ineldio, qula ve vobis, al in manue catti incidoritie'o in

Iiydgate'a The Fre and the Mouse, the Mouse bonstet

As I haue appetyte, I dyne late or sone For üyb, the satte, hathe here nothyng to done (405-6)

Henr=ºaon's Town Mouse makes a similar boast (90): and his cat is

'gib huntar our loly cat' (165). The poet may have developed his

second episode fror these hints. But there is other evidence to

be considered. In Odo of Chariton's version2 of the fable there

is also one incident only. The Country Mouse goes to the home of

the Town house; there

1.8lnilarly the Oxford Romulus, Hervieux, ii, 248-9; Vienna- Berlin Roaulus, iierrisux, ii, 422; Florence Ro®ulue, Hervieuz, lit 478-91 Romulus of Nilant. Maria do France also warne do char (48).

2. Uertieuz, iv, 190-1.

79a

Ioainas cedentee ad grand usi micas at aoraellao pros c erupt. gun domeatica dizit siluestris Szeae de foramina; eaco 1uot bona prolooluntur. Exivit crapeatri3 at cepit unuz coraellum, at saltault Catua post Uurem, of viz evaait in toraman.

This is the only warning the To'in Mouse needs to persuade it to

return hose. The setting here is entirely different from

Ren yson'e which is based on the Romulus traditions the cellar]

the steward; the L'ouee escaping (it had been caught= in Odos

'viz evasit') bf climbing a ball. But the version of Cdo Is the

only one (apart from that of John of ehoppeys which follows it

almost verbatim) in which the cut actually appears. Iienryson

certainly knew more than the Guelteruc tralition, but we find

ourselves still uncertain of the versions he did use*

The fifth point at first eight coaplicatea the weave still

turther" In Ilenryson's text the two mice are sisters; the town

sister sets out to visit her country relative. In all the usual

versions the mice are in no way related - in several they are

sale as well. The Town Uouoo is lost going from one city to

auotberI or no explanation is given for tar appearance at the

Country Uouss's daelling, 2 But in ßrosyard we reads

2terw eis responders poterunt, sicut in eiedea fabulis legitur murem oiluestrem respo: 3isse aura villaao eorori suae. Villanus na* e tingitur viaitaose, at quassiuisae ...

The Question arises an to whether Ilenryson knew nrosiyard's version,

I. Cf" Romulus of Nilcntj the 1d3ß Romulus; Marie do Frunce. 2. Cr. Cualterus Anglicus.

80"

or whather to knew hia source (ln ... labulia isgitur) or some

derivation of it. In attempting to answer this question we

rust first note the a1*ilarity between Brosjard and Oda. Oda:

Cuedna stns domestica querobat a caopestrl: Mure quid com(ajcderot. Quo respondits Duraa fabas, quandoque aicca grana tritici uel ih]ordoi. Et alt duo doaostica: Aride aunt cibaria tua. Ulrua eat quoll fame non perle. Quoaluit alluestric: ät quid conollo tu? Corte coc*do pingues morsollos, quandoque albua psia=.

8royani t

... Yillanua nn uo fin, itur viaitaaoo, at quaeslulose a campestri, quld com3deret at biberet, at ubi cubarot, qui rospondit, quoll tabae of buiusmodl Jura, elus Brant cibus, at aqua potus at foaaa cou fora=on torrau lectue, at base "i ostendit. Altus vero dizit, cibuu auun case pane= albieoi at optl*a gnaequae ...

The netting is the sages the Town House has not been offered

food (as in the Romulus tradition) but asks the Country Louse

what she eats. Phrases are identical: 'querebat a osapestri,

quid ooamedsr+t', 'quaosiuisse a caapestri quid coamoderet ... 'i

'Cue respondit: Duras tabas, ' 'qui respondit, quad fabse at

huluanoil Jura ... 'f 'album panes', 'Venen albLaslausle But

equally interesting are the differences between the two', textss

Ode does not mention the relationship between the aloe; eM while,

as we harre aeon, Odo, desoribea an adventure with the cat, the

crisis in Sroays. rd's version is normalt '... oontingit dispeneatorem

"Plus intrare, ad culus introitua tisore segne pertorriti-fernarm

pstebant'. There is one other important similarity between the

two texts: they both quote (or their source quotas) from Ouniterus.

Oda repeats line 23 of oualterus: 'Redere aalo Pabaa quas aura

81.

perpete rodi'. Broa rord'a quotation is sore extenaivei the

Country Louse says, 'Rodere aale fabaa Quas culpa perpete rodle

Rellituzgue Motu non Auto duloe bonds the second sentence here

is line 20 of oualtorus' version* now if their source was

ßualterus' poem they have differed widely from it; we would

hove to assume that Bromyard used both Odo and Oualterus. It

they had a coa%on source it scene certain that its setting is vary

different from that in the traditional telling: no meal is spread

out but Questions are asked of the Country rouse concerning her

food* lienrycon'e tale is based on the traditional settings

the seal is spread and the Town Mouse objects to the food.

Co. unless we cre to asrsaa *=a unknown sourca from wblc2i

lenryeon has copied, our study of the sources has shown us not

only what the post took from the traditional telling of the story,

but also part of his originality: on to the traditional telling

(which he probably knew from the Ioopot do Lyon and Oualterus

tagliaus and supplczented by Lydgate) he has grafted events from

other versions: the relationship between the nine, and the

adventure with the cat - We letter he has either developed from

a more hint or coauiderably chan, gged; and ho has made it a second

cpi&ods to frighten the Country Ltouse, whereas in all other versions

one such episode suffices. The effects created by these graftings

will be discussed in contest. From the traditional version

Benryson has takens the Town House's disgust at the poorness of

the seal set before her, in spite of her sister's insistence that

she should have it 'with blyth tined halrtl7 chair' (68); the Town

L: ouse'o sugCoation that her sister coca to eta with her; the

82.

Initial joy and feasting; the scare of the steward's entry= an

eccape on the wall; the Country louse's disaissal of her sister's

wealth (hero we might compare, though the link is tenuous, Qualtorus'

'Lotet hoc in tolle vencaus' (19] - paraphrased by the Isopet do

Lyon - with Hcnryaon il. 183-5); and at least the basis of the

coralitac. Co are now in a position to woo what Henrycon has

cacao of his tale, what he has added, how he has expanded, for

bis version is : rich longer than any previous tolling (as is the

case with almost everyone of his fables), and Mint to has strewede

so shall find three major typen of rdditionni structural

chan. gaa, addition of detail and, addition of rhetoric (formal

rhetoric, proverbs, Biblical quototiono, forms). I think it

beat to discuca theno an they occur in the poem, rather than to

atterpt to separate them under these throo hoadinga, since they

often overlap. The poet's originality is evident from the first

lineal I have stated already that it is to be seen in his grafting

of the close relationship of the two sisters ('siateria i, i', 2)

onto the traditional setting. Throughout the poem he will stress

the differences between the two sisters, differences which are

made more eignitic nt by the original equality of the mice: they

had lain: 'baith within hir ri. e6 their mother's] sane' (53);

but frog her original state the Town Mouse had cliabed 'vp most he'

(210). The addition is of considerable thematic importance as

sie shall see. The poet proceeds to establish the differences

between the nice by rhetorical paralleling. One was respectable (living in 'a borrowio toun', 3), the other lived as if an outlaw (7)

though I am cure we are to presume it was not - it is a question

83.

of class distinction, the successful sister wishing to disown her

class and thinking of It as ariainal= one lived in coapany and

the other alone$

rycht colitar rai2e, rn busk er dl breir _1, p.. i U the corne ...

(5-6)

One cufferod tc. cnaely (= dlatroe 9), the other eao very

coWfortab1es the uco of conjunctiona in the tolloiinC pacaago

to coat noteworthy, conveying as it does the cenco of enormous

prosperity= the 'quhair euer' cad 'alouc' create the Gaza effects

... co Vsilt bruther an maid one fre burgoo Tole fro alera but cueto: ae aair lea

_sMj or, frcdc-o had to go quhoir cuer echo list the chato aa111 is ark cn,,,, 4 kiet. (11-14)

The fact that tho Torn Uouae lo a 'gilt bruther' to again an

addition by Henr, Taon$ it carves to Increase our knowledge of the

Town i'ovs6's rospectabillt7 and wealth. But it also, I fell,

served another purposes it helped to fix the story in the post's

own dayI a. ̂. 3 thus make lt acre imetlately relevant and thus more

likely to be applied to the reader's on experience. Of courco

I an not a'uL oatinE that Hcnryeon uua implyiug that country dcol1cro

1. The Groping Importance of the corchant claca in later fifteenth cantury LLcotlar, l is examined by Y: ofoacor A. Croft Dickiman, Cco ,, r the ea icc t=. to 160 (A Now 111otory of boot saa1 19 naon eta., 1961)& pp" 233-Li. To state t never, as Gtearns dome (Robert tief tson, Op, ct pp. 34ffg) that differences between town and country alte an ahOIn in Hunryson's poch provide us with en accurate guide to aociul ooaiitiona of the time, seome to ne to be xis1cz4ingt ailailcr contrasts (even in the dotailo of tool) huct been &2o an long as the table Dad been written and these contrasts were as appliaablo to thirteenth century France, for inatanco, as to fifteenth century Gcotland.

©b.

were by nature more upright, pure and honest than town dwellers:

hie atozy uae© the two animals and their differing homes an

symbols for two opposing moral states (it would or course be

possible to have an avaricious Country Ltouoe *Ad an unseeking

Town Uouee). Co, as we saw in the Co3 an4 theewel, Henryeon,

even before the story has bogus, has addod material which deaariboo

his characters shoving the emphases he Is to make in the tale.

The difficulty of the journey to an extension by the poets

the fcct# that it can long, that the Town Louce bccc :o tired end

loot tcd been mentionod in other accounts but the ruggednoea of

the terrain had not been etreoced at ouch length boforos the

stress ccrveo to en; haalze how far the Torn Louse had 'climbed'

above her sister - mho had beeoro uncccuetoncd to her formor

cnviron: ent; the 'cuoteat lif' had boooao unattractive to her.

Once again the otreaa lo gained through accumulations ('baith ... cz 1j throw ... throwcht ... throwcht jf ra ... to ... fra ... to)

and alliterative emphasis

balth our daill and doun. Throw s wilsua ywayis cvth echo walk Throscht enure wg go" throwoht dank dusk and breyre ba

. ter to fur aryand fra

-Valk 1o balk (21-4)-

The greeting In also added - it sorres to omphnsise the clone

rolationaMp of the two mice which had been diaturbod by the Town

house's cliab. It is interesting to find in en English version

or the Cestýýr ,, in the tale of a cat and a mouse, the

followingt 'The Cate come beelce, and horde the mouse Crleln the

borne pope: pcpo: for She oar t not coo oute 1 Althouh one

1. JU Fvrlx vhv t orrtagv. o')s cite q D"

od. C. J. U.

85.

cannot assume tienryson's knowledge of this work (and the circumstances

of the stories are very different) the siailarity of expression

perhaps provides additional evidence for the view that one must

question seriously any atteapt to describe Henryson as an observer

of aniaal life; he is rather dependent on literary inspiration.

Sot

ffor gyýk that luchs and u1 for Icy th ýtret cu fig salt sueit er, gyýyt e In araio plst (32-3)

1 have aentioned how Henryson any have taken the idea of the

poor coaditlona of the Country Uouas's dwelling from other versions

of the fable; however, his description is auch more detailed than

the others which usually tell of sorely a hole in the ground.

This addition of detail is a very important factor in tienryson's

art: as we shall see, in almost all the tables he worked from the

most generalised sources and almost all the detail is his own.

In his '? CootLtish Tradition in Literature Kurt Wittig writees

Usually, the animal disguioe in rather threadbare, a mere allegory. But ttenryson's peculiarity is the close observation of both the human and the animal detail ... The ditt_e_rence can perhaps beat be suoaed up as tollo. st in most fables the animals are simply human beings in disguisep but ffenryson's animals are closely observed, and they are real animals ... Elenryoon' o details eine so accurate that they give us a repl picture or contemporary social conditions.

I shall have more to say about the so-called 'personal observation' -

which in any cases Is literary In origin, in later chapters. The

critics have noticed the detail but have neglected its most important

10 o, - ,Cltt Pro 39-4410

86.

purpose, which is not only - if at all - to make a better story.

to glTs the 11atener/resäer more emotional satisfaction Eros a

good story well told1l but to give added aeaning to the noralitae.

No should note Robertson's explanation of verisimilitude in

Th. Ca terburi-TaIgg, an explanation which, I tool, applies equally

well to he Fabilliet

The ! unction of verisimilitude is, first of all, to attract attention# and, ultimately, to show the validity of the underlying abstractions an they atanifest themsolvea in the life or the times. 2

The details aale the account more 'vivid' certainly, but more 'vivid'

here, in order to vske the contrast between Town and Country Uouco

greater, to reinforce the moral outlook of the works äe are ehoan

a poor house which contracts greatly with the respectability of

the sister's dwelling - for the Country uouse, the poet reesphasisea,

does not j respectable: 'eia pykeris luvia not licht' (42).

Henrysonls use of the relationship between the two nice allows

hiss another additions when the Town Mouse, 'jrwnaigit ful of P-rqd'

(47), criticized her sister's food, the Country mouse reminded liar

that they had nano from the sass origins and that it trat she herself

who lived as her parents had done; the Town Dtouse was living out

of charaotert

I kelp the ryt and custoae of my dome and or any oar Lava" in pouertie For lcndis hair we none of propirtle (54-6)

This addition is of particular importance as background for the

special e*phaais of the soralitas (lines 206-211 eepecially). In

mmýcammom

1. Cr. D. W. Robertson Jr. 9 A P-refece to Chaucer, cný mit., pp" 45 ft" .

2. lbbtU. , D" 247.

87.

the sources the advice that friendship and good cheer make the

poorest real sees 'rueit and nude' was spoken by the narrator.

Here it is put into the mouth or the Country Douse who rebukes

tar sister: she does so in the words of the Bible which give

authority - the authority of oft-quoted wisdom, the authority of

the Gard of God - to her position. But thin has no effect upon

the worldly souse. Here I must protest at one of Stearns'

aisreadings. He states, concerning lines 78-9:

For the first time, the town Mouse Is o bit shaken by the moral conviction of her younger *later and site sadly but quietly It the table, with 'littill will to Ding'

The Torn house chow no clgn of boing chaken by moral conviction.

Despite all her oiater'c 'eery exortatlon' (78) ehe will not rejoice

for the food In too w4ch for her; again ehe chore prides the food

ccy 'ouffgla for ale a rurall beast' (84) but it is not rood enough

for her despite the fact that, as has been emphasized before, ehe

In but a 'rurall beint' herself by origin. She In proud] her

religion means nothing to her in her pursuit of worldly Goods -

her otateaent that her 'gud fryday Is bettor nor your poae' (87)

scarcely suggests derotlon, and Indeed we are intorzed that her

cod !o her stoaach (220-1)j and ehe In polt-reliant and selt-

anaurod, ironically so, no we shall find laters

I half haus anew of grit dafons of cat na rail nor trap I half no dread (89-90)

Onco again we must note that the two latter characteristics I have

Isolated are addition& by the poet and that even the first, pride,

1. R1iltt :: 2nd, Q2_ olti. DP" 109-10.

88.

Is merely implied in the sources. But the additiono are not

scant to produce a 'well-rounded' character - either human or

anizal - but to portray the characteristics of the man who has

placed his trust in the things of this worldl - pride, irreligion

and DUM, fetal eels-reliance. Creeseid e hibito those features

. In The TeetMolll

The nice arrive in the town 'in a mornyng or the lnvorok

sang' (97)" The only other versions mentioning the time of day

are Horace's (ast in the midst of the night)2 anä the ISO Romulus:

'sumao igitur diliculo visa aggressi aunt, at in meridie ad villain

venerunt'" Usnryson's setting is different from both and is

obviously an innovation by the polt. As in the GO kaQ Jee11

the poet has used the convention in which poems are set in the

morning (the time when the false world eeu promising) to emphasise

the foolishness of his characters: here, the initial foolishness

of the Town Mouse, and the foolishness of the Country Mouse in

letting herself be guided (94-5) by her sister. In the town they

co :e to a 'worthy wane' (99) - not the 'sample wane' (36) of the

Country Mouse - where the food is in abundance. We saw tionryaon

e-ri1 r in the poem using conjunctions to emphasise by accumulation;

similar constructions are used to stress the amount of food

available; 'baj th ... and; with .. o and; and';

bayth chits and butter upon* skelffis he with fishe and fleeche ennuche balth fesch ar4 salt and iekk! " ful or groitle baith molll cM lt (103-5)

1. Cr. D. W. Robertson Jr., ErftaM 12 , Deuoer, 221 CUM '" Dp" 241 rre on medieval 'characterization

2. Satire II, Yl, 11.100-1= Horace, fa Fgie&lcp naQ Ar Q FQvtlca ed. U. Rushton Fairolough ( ed Classical Library,

o" or and LorAon, 1926) p. 218.

89.

Alliteration also intensifies adding to the sense of quantityf

similarly 'full ot'. The post continuos to emphasize the seeming

prosperity: the mica had ' fl curls' (108)s

Uotonr arA- beir strikin in telyeir i (109) their the surharg furtý brocht

A plait of groitis er a diech of maul Threfo cakia i trod echo ppariit-noaht La_bowAm-tjZ about hir for to dell i (120-3)

The Town Louse thinks thie will last forever 'and langir to' (118);

for the In blind to the realities of this world, has forgotten

where true values Ile, has cads a god or her stomach (I. 221).

Co 'Qithottin grace they wesche and tent to seit' (107).

nut thio is not real, they preteni to be what they are note

'a lorli" fair this can they counterfeit' (110). And at the

height of their boy the poet reminds us of their danger and thus

of their rally (129.30); this is an addition to his sources, but

an addition which is traditional both imthought and expression:

we are Introduced to the Boethian world of instability. At the

height of Troilus' happiness Chaucer similarly tarns

But Al to Titel, .e lawey the whyle, Lasteth swich joie, ythonked be Fortune, That cezeth treveet when ehe wol bygyle, And Kan to foolea so hire song ontune, That ehe hca hent end blent, traltour coaune:

Those who have put tbssssly®s in Fortune's power# by placing their

trust in the things of this world, are sure to suffer. Hcnrycon

e= aalses the Country Uouse's cutferingt

Go dueaalait and will of all gud raid For Terry dread echo tell in ewoun neir deid ... (139-40)

... This rurall sous lay flatlingia on the ground and for the dead echo was full dreidand For till har haart streik moray wofull stound Aa in a fewer tryalit tute and hand (148-151)

906

It in perhaps not too far-fetched to recall at this point Troilus'

condition when Fortune strikes him. l

Now Henryson has not only added detail to the fable, thus

widening its these, he has radically altered its structure. As

we saw before, in no other extant version of the fable in there

core than one episode; here there are two. The attractions of

the feast of this world - and its inherent dangers - are made to

seem even greater by this addition. And the poet has made the

cecont episode much more terrifying than, say, Ode's version where

the Country Louse 'vix e'asit'. Here the souse is caught and

played withs its misery is described in terms recalling, as is

certainly relevant, Fortune's wheal ('Fra ... to ... to and Eras

quhyle ***')S

Fra fats to Pute sahn keat hir to and fra quhyle vp quhyle doun Ala tact as ony xid quhyle Wald echo let UP ryn vndir the atra Qubyle Wald echo wynk end play with hir bukhid (169-72)

An interesting comparison - reminding us once again to be careful

when opeaking of 'personal observation' in Ilenryson'o poetry - la

with an exeaplum in a fourteenth century collection in the l3ritich

Luseuns e se

Diabolus dicit eiail murelego qj cua cure cep_=it a eiefla ludic dimittendo "a; aliquautulua 4t poatea comodit illaa. Ita Tacit dioboluo do pecge

, ore 11 tandem in

tine deuorat 1peum2

The misery of the creature suffering from Fortune, the Creature who

has placed its trust in the things of this world, is thus atreesed.

I* Troilup und Cr611IL , V, 217 if.. 2. O. Y. NO. Barley 268, fol. 33b"

91.

Tho Country uouae has learned her leecont

gangers is gynsit cal with cair lby- qua lo mud thy gneaall sour na Eoll The jachngl a- of 8crul ce In bot DLit r (183-5)

once again Men=eon has added a proverbl with its accuaulated

wisdoa.

The last stanza of the fable is also an addition by the poet.

ee should note the introduction or the narrator here: he is

similarly introduced in the final stanza of the story in The

the Jam, The Fox. $olf aril Huebax an an The Moue ant thg polo

in other fables the narrator plays an even more integral part in

the action and theme - The Lyon arA the Moua and The Cwj11oyº cad

Otbir 131r do for lnDtsnce. The introduction provides a further

exurpie of the use of conventional forma in coabinaticn (the

narrator had played an important r81e in Chaucer'a poetry, for

inatcnce) for the stia purposes= in the procent fcblo it cerves

to vouch for rcouracy of the table and thus of the moralitaa. The

narrator 'hard say' that the Country Mouse lived$

As warme as row suppois it was rocht Freit Full b eyaly otuf t bayth but and ban Ott peas and nutls beats ry and quheit kuhen aTir ccho list echo had e nucho til Sit (198-201)

One should again not© the 'bayth ... and ... and ... and' torn and

the c 11ftaizing adverb (full).

I hope it has boco" obvious that Iienryeon has used hi© additions -

the diftarent typen of which were enumerated at the beginning of our

discussion - to ea; haeise the danger of putting oneself in the power

1. tae ' C"-*RLtljkh ?, ed. Lrialne Deveridge (G. T. ß. , New zier ee 15& 9' no. 245P p. 16 'A good goose Indeed, but she has an ill gnnsell.

92.

of Fortune by attcnpting to climb, to cook worldly goods (in this

cx=a lo, food) which, though seemingly abundant and attractive,

are fatal. The Town Uouee had climbed from her original state

and put herself into mortal dangers danger she did not, in her

blindness realize, danger into which she attempted to draw har

ciater, who gras oisilarly blinded, danger which, it is implied,

will eventually prove fatal to her.

In diacuaajng the moralitaa we should first note tho chnngo

or fort to the elEht-11ncd otanto which co I mentioned in ray

ctiaptor on The ! pun-and the Prddocr, la used primarily in fittconth

century poetry for overtly didactic work; this fora co=only has

a refrain) Again we eeo Henryso= adding a traditional form to

the original story. . he poet etreosos his themes

So 1 me r. o111t is aducraltie With erdly IcW eo that no "tait is tre t1it2'. out trubla or aum vexatioun And nasely thay that clymis vp most he And nocht content or small posaesaloun (207-11)

. he : own Louse had cliabed 'ep most ho' leaving her original otato (she was not content with 'small poeseaeioun'j ehe had put her

trust in 'ordlr boy'). And, in Boethian ter1aa, when one has put

ous'" trust in the things of this world one has voluntarily placed

oneself in the power of Fortune; if one's trust lo in eternal

things one cannot be dizappointed for they are stable (Choucer'o

DroIlno t4 Cr seydg, V, 2845'6); but If one puts trust in worldly

1. £ec, for instance, ß. tuix Aica and LAB

f

' ýgiujX ej t is i; to aootion or Lyagato`o tuor kaana wnt L'acCracken ontitlee, somewhat patronisingly, 'Little Uo*iliea with Proverbial Rofraine', The tciror Pooas

or Jo Tom, Qate, its Op. C1199 pp. 744 it..

93"

things one Is auro to be disappointed for, by nature, they are

transitory - Chaucer'o '"roi u, The Testt ent of Crenceid. The

Town Louse, like the foolish Cok in TD 2 ar the Jewell, has

misplaced her values: thus she suffered from 'blind prosporito'

(216) just as Chaucer'e Troilus suffered from 'blynde lust'

(Irol lue mW Cri, V 1824). We rerenber Crossoids

TI W lure, t2Ly laxtie and thy gentilnes I co, =tit =Wall in cry PDoCpvritie Ca olevcit I was In vcntonea And 1. upon tho : ickill quhoill co üio (547-50)

Othcr info: Cant pa3sabcs ar-a to ba found in tho Qrphe ºt

Dot varldly on cumtrmo or caaain ho upono the quheill, in Fret pro er i3, .. rd frith u quhirlo, onýrardly, or t ha wait ar thrawin doun to pure and law estait (485-8)

... ßcharand to we quhat perell on 111C ayd That that incur quhay will treat or confyd Into this warldle vane erjM quhilk hoe thlr eory properto a thre, That is to any, , Eottin with Grit labour, Keipit with dreid, and tynt with Erit dolour (517-52)

The T. r4l and (uha wait how Bono a lord of great renoun rollard In varldly lust and vane plesan11s flay be ourthrawin distroyit or put doun Throw Pals fortoun, quhilk of all varlana Is haill naiatree aua leder of the dons (281-5)

1 jbWalk:

Thy kiz ome and thy grit empyre, Ti, Y ryaltie nor richo arrays Sall rocht ondeur at thy deayro, Bot as the wirA will wend away; Thy Cold und all thy gudis gay, quhen tortoun list will rra the fall (9-14)

We shall find mach of Uenryson'o poetry to be concerned with thin

subject* of course, it wist be emphasized, this does not neces=12y

reflect a personal prob1cm on hic parts one can say that, alnoat

94.

without exception dedinval post© did not write about incLtTiäual

problems but about the problems of mankind; Henrr con is but one

of styl writers who dealt with the same problem. His importance

is in the º he deals with it, and this I have been attempting

to describe in j analysis of the poem.

Now of course not only the rich are subject to the whims of

Fortune: 'no stait is fro' (208). But those who have put their

trust in this world and its riches suffer from these whims. Cos

glIVES& symple lyfe withouttin dreid sobir feist in quiets

quha too ennuche of no aoir res he noid (212-4)

do mqy aa. paro with Chaucer's fal__4e do ton Cono y1.

Flee fro the preen and dIelle with cotblaetnesse Cuffyce unto thy good, though It be =al; For Bord hatte hate, and olisbing tickelneese Preen path cnvyo, and wale bleat overal (1-45

We have alrec 1y aeon Iydgate'o lines '2ior more asswerd ... Thcui

glad pouert with c 31 pODDeaDIOUn'. In another of hie poem,

ný aulo 0-M1 sOuteý,, ýri_e_s 1

Be paled with lital, content with suffisaunce, Clyab not to hih, thus biddeth Uocratesi

Glad pouert is of tresours most substaunco, Asid Catoun with is noon so groat oncren, Oft wordly tresours, as for to lire in poes, ... (65-9)

ticnryaon'o on The Abbat yºa1kt

In welth be aeiks belch nooht tb7 seif# be glaid in wilful pouertie; Tb r power a4 thy wandte pelf Is naht bot verrr faattie (49-52)

1. The tiro re32 of J2fl Wt , iit QDM, 750-4.

95.

Dunbar's Qt Connt _nt1 was later to echo the ear. e idea. It Is

interesting to find in Gregor's notes to the poen2 many classical

parallele for this concept. Biblical parallels can be found in

Proverbs xvi, 8 and xxiil, 4-5" I Timothy v1 is alto relevant

as we shall see.

The Town L: ouco'o values have been cicplaceds her god to her

ctaflach. Linea 220 ft. paraphraso Philippians iii, 19.1 quote

verso 18 nloo for context;

itulti calm aabulent, quota eaopo dicoban vobio, rrsno nuten at Hens d1co, 1nia. coe cruolo Chriutis quorum finio Interituo, quorum dcuo venter eat; at Clorta in contuaiono ipsorun, qui terrcna oapiunt.

The Tom Mouse loved worldly things, made har stomach har god,

and, it Ic 1mp21ed, her end will be deatruotion. It coeno to me

that in this context the cut of line 224 Wars not onlg to Fortune

but also to Death:

The cat cumlo and to the moue heTtin E Quhat dole araill thy faint crd . yelto With druid fäll haart and tribulatioun (223--5)

Verca3 6-10 of I Ti otby vi are particularly rolovant herot

Eat mutes quaeatuo nagnua pictaa cum aLfficientia. 111h1l enin intu1i ue in bun* munduni, hand dubium quod nec nuferre child poaauxss. Habentea autcm a1lnenta at quibus teffmaur, hic contenti eiaua. Nan qui volunt divitec fleri inoidunt in tentationm, at in 1a2ueuia diaboli, at deaideria aalte initilla et n^civa, quere ®er1rsnt hoalnes in interitum at perditionem. Redix erin omnium calorun cat cuplditac; Quarr quidea appotentes erraverunt a tide, at ineerierunt as doloribuo nultie.

1. UMI 09 i 1I bar, 3 vole. 1 Introduction by L. J. O. tja air, ii roans ed.. 1 Czza11, iii Notes and Olosaury by Baiter Gr*gor (G. T. ß., 1893), 11,230-1.

2.1bß, Iii, 312-3.

96.

Kenryaan'o warning io expanded In The all 2w and Othir firdLO

Co, in view of the danger of seeking worldly pleasures, dangers

both In this world and the next, the 'boot thing in erd', the best

'undir the havin', the beat 'erdly Ioy' is 'onall poaaasoloun'.

For 'pocacosioun' dots not matter. Ghat does matters

the richeo that ovir call indure Quhilk saotht nor rwst cry rocht resat nor kot And to mun1o caull it Is eternall reit

(The Cok and the Jeiel], 138-4O)

Henrycon'a poem has religious 1iplioationn. And here we find the

basic dlfferenco between his Cable and all other literary voroiona,

except Odo of Choriton'o chore the moralltao, though rollgiouo,

has a vcr7 different purpose: an attack on einoniacal clerEy.

:: van the telling in the Iaopet do Lyon, though hinting at the

concept of Fortune, In not specifically roligiouc; tienryaon'a

Is in ooacnce religious an are anno of the exanpla v©ralonc:

Jacques do Vitry:

Expedit igitur ut exact hozo a Babilone of periculosa habitations ca. cime, ubi rortior debilioren consuevit opprinerol

B roz, yard I

&lo o : nano, quando fldoleo airapliceo vldent peccatoroa, at abundantea in acculo obtinere at lactaro divitiac, at victua, of veatitus, delitiaa of doaorux at equoru nobilitatczi, qua omnia vol ex magna parte ex sale habont acquieitiono, cum anizaaruw periculo, at conscientiarun timore, quibue aeliua ecaot fabaz comedoro of aquam bibero cu* conscientia letitia at cecuritate; dlcant in cordibua can cure caupeotri, malo seas ruralem paupertatem, cum aecuritate at laetitia quas eplcndidaa upulae iliac at Testes aum rennrau concolontie, at cum tot

1. Crane# CLVII, p. 69.

97.

honinu of de : onum 1neld. lle et paenaru3l lnternali= tinoro, colene quoniaa n en buccu11o ante can audio unn oio plenndiu t 1o ew uriio. G. conaciontiae. Prou 179

The Mº V" lß, 9 thuo forme one of a group of poa e which are

variation on a thane, the vanity or tho world and the stability

of the heavenly kingdom# the general theme of the entire FakillIge.

98.

(v) The Dog, the 6chelp and the Colft

^hero can be no doubt concerning t ho ©aurco of TJ i= or

il

hg

and the V; glff, In all the troditional accounts the fable

Is an attack cn falco witnoaceas the judco (who Is usually unn . od)

aako the do3 if he has witnocoeo, ©o. oti=eo ho produces three

(usually the foz, the kite and the hawk), sometimes two to testify

for hiss, and the judöe Is nielead by thoce. There nre two accounts

in the traditional canner which give some blzmo to the

Jacques de Vitryts ezeaplux, 1

where the rabbit In the

rind : Cunlbus xute:., z i1u10 at corui© pro Lupo

at uolpe testiuonium terentibus dixit ouniculus - id oat rapax prolatus -: Cua agnus eoluere neyueat quod promleit, ego pellca, id set exterlorem substanticm, pro pignora retinebot lupus auto= at volpeo inter as oarnos diuidant ...

In Iaopet I, 2 where the judge is not marod, we finds

Le Juge qui Vera Is plus tort 3e tienti colt c droit, colt a tortr A roadra le pain 11 eom onde (14-17

fudge. In

judEe, we

However is both these accounts the remainder Of the table Is

trcditlonal.

The Xwpet de 2, yon3 has divorced markedly from this traditional

telling end, as will become obvious, fionr son has follovod it:

En eel plait eat jugee 11 Louss Cilz juge® eat Rout perilloua. (3--4)

1. J. Groben, Pie ýF em 1a au de ermonee I go Jacob voVjt, r yp opt ciis, no. 50 pp. 109

2. Bastin, lip 209-10. 3. Bastin, 119 91-2.

99.

'a rrawd full [ioltjl ras luge' (5). The dog had 'bons conaoilloura (g) - advocates, not witnesses; so in Uenryson's =able (31-2).

They were 11A) Nleble et lo Voutour' (7) - tienryoon' o Ogled' and 'grip' (30). These are too corrupt: the Isopet: '©1 11 uns

toot, 11 autres c:.. blo' (8). Henryeon: they:

wer considertt otret in to ano bend Agana the echeip to procure the centene Thocht it wer fol4 troy half no concolcnce. (33-5)

But the cheap ans without counsel:

Conaoll no avolt no hale La Berb1 ; o'otolt e balc (9-10 but oduoaat abaelt ly can otand

(86)

The rennlnder of the story lo parallel: the dog naoucoo tho cheap

of kee4ing hlo brand; the corrupt court convicts: Li Loua ca conooillour3 acordo, Cuar tust tirent a uns cords Et 11 s=t Een: conz conaclonca qua do rapine font cbevance (23-6)

ücnryson likewise enphasiscs the court'o guilt. There are points

where Hienryoon diners slightly Prom the Ieopet: hie dog does

not mention that the sheep agreed= 'Non Dais uno foil, maie sovent' (16); nor does his sheep die of cold - CS. 'nuert de frost contra

is bias (! 4) (Ucnryson makes use or the winter scene in a auch Coro

original ray, as we shall see)* But there con be no doubt that

the Isopet providoe hie eourc©.

Now we are in a po3ition to coo what the : cottº1ah poet made

of the fablo in azpri ling it (from 40 to 175 linvc)" : hero are

two ca3or u3ditiona to the otorj itacir. The timt Is the o<ldition

1. -41W Da. nnatyaa tiro is taultys trothcr Vilublo 1© nccecsar. r for the nette. All other early voralons read 'wolf' which is, in my case, obvious in this context.

100.

or dctall to the court ecene, the deeoriptlon of an eoo1uai9stic41

court. Go the golf *ends out a tetrcit aummoun' (7)1

I ar wolf palrtleo of frawd or grle Yndir the panie of suspentloun and Brot curaing and interdiotloun Cr 3cheip I chairge the straf t lYý to coopair ... (10-13)1

The detail has the cane effect an that in the ern Ms it serves

to localise the scene and thus to make it more applicable to the

society for which the poet was writing. ueoido© - and the case

reason applies to the introduction or technical terma in p

trv to= the Tr- by their introduction the poet reninde

us that he is dealing, in essence, not with cninala but with human

beings in their bestial state (cf. 22o 11.143 ft. ). Wo should

note too that, in this tddition, the poet hcs taken every opportunity

to emphasise the court's corruptions in context the wolf's denial

of 'fraird or C7le' (10) increases cuapleion; and our knowledge

of the hopelessness of the ©heap's position io also increased by

recognition of the wolf's learning (a aaster). Ilia prey Is a

'silly acheip'. Further court detail also serves both purposes:

the raven who is 'pperitour' (15) 'pykot hea , t;, 11, ß ochapie Z' (lb):

The 7 ox. area clerk And notar in that cane The glcd the g 1p Vp at the bar couth etanä

... Lawrence the ectiptanIn to the lawle

d the procee wr `ait

(9)

Othar fables, as the post hisaclf rc 1nlo us in lino 1349 havo told

or the treethor. 1,2 cris aßä enmity of tho fox towards the chcep.

. ýrrr r. rr. rýrýw1.

For explanation of these technical terms, and evidence that this is an "oc1cs aatical court p see Caith, k2gijgg g gI jA. is 20-1a n4 tes to 11.1448-39

101.

The oeaonJ aajor addltloa to the etort Is the eheop'© protest

aVinst the court'a anicosity to her, cnd the resultant tribunal:

... thoi oar wolf has AL bone odius To me with tbyno tuskto revenue heb alone il M2DX kynnio men of msrne ...

... And schort of this court the momboris _nj J)ath ocsesaorin clerks and aduoont o zo and myna ar ennemelo mortall

and a has bane os dc r ocheiphird watt (46-53)

aesidea, the very tine at which the court le held la unlawful

('rerial' 1541 - another technical term)e r7e note that it beginn

at eundowni it will be held then in the dark. Considering

Uenryson'o other uses of the dark/light cymbol2 1 think one ern

accept this as another eight or the court'o falseness. Even the

apyeal Judges are false; they Aen virtuous:

... held a , lg dioputetioun

. &M

decretalie of the law end 6losia a the veritle to knarr

Off oevall M2M volum thay r©woll The cooys 121 aegestis new n aid (68-72)

But In fenrrson, in dealing their duplicity, affirms itt

For pars nor prayer trop ye they vala fold (75) an trew lugels I shrew theme that leis (77)

Hor., rnson's additions to the fable have net It In a particular

coatemporarj setting - the ecclesiastical courts - thus caking the

tale more relevant to his reodcra, /hearern; and they have reinforced

the corruptness or the court* cot

1. Bannstrne reads ' iamortall' which gives an unnecessary syllable. The sense sews to demand 'aortall , which ia, in fact, the reading of the other early versions.

2. Cfe the opening of Tke Mu a jrd1jq 11.15-21; 28 YO a bý he us o, We

eT! "s kor commonly Tzw concept is used ro ca in ` sie p®keris luvis not licht' (42). The Country Youoe does not oee reo; cctcblo; in fact she is much more so than her sister.

102.

This cursit court corruptit all for maid Agana gud feyth Sud law and conscience For this tale dog pronunoit the sentence (96-8)

But this Is only the beginning of the poet's originality. The

roralitas in the Isopot voraion is cerely$

äost ©e consent a taus etey Uona de savai ee porre t ey j Tost ports una ©avaiß tesroignaige Par un Doul de eon avantalse. Fror surasti6 sovcnte toiz tat wise au doisoz bone Lois (35-40)

But the morclitas or Henryson's table is tar sore extensive.

Althou, h he does not show how the post accomplishes his task, nor

indeed, fully understand its nature (the use of the word 'personal'

for instance comps, as we shall see, fron a misunderstanding of the

text) Stearns is certainly correct when he sayer 'it is clear that

Uenry con is building in the course of the table towards his personal

coczent in the moralitas'. l Now, as all the commentators have

pointed out, the court present in the fable itself is a church

court while the interpretation placed on it in the zoralitac suggests

a civil court. Lord Hailers

... It is rezarkable that the whole entire of the table Is aimed at the ecclesiastical Judge whereas the application is to the civil. Henryson probably stood more in awe of the court spiritual than of the toaporal02

Surprisingly# this explanation is accepted by both Cwlt Sand tiood"4

However# Stearns is surely right In stating:

1. Robert Henreon1 g R. cit. , p. 124.

2.6agISWI r Poems publlahod from the Uao of George Dannatyne 15t8 t4 urf p. 282, note to at. 16p 1.1.

3. Fomg. QDA elta g 1# 22, note to 1.1257. 4. E2MA and Fable., o, . cit., p. 214, note to 1.1265.

103.

Thio inference seems unjustified. The action would have obtained law in either court and Henrycon appears to be ta4ng the opportunity to criticize both.

:, o Judea in Church Court and Sheriff in Justice Ayres are both

like the Golf in the fable= the apparitor and coroner are both

like the ragen; the characteriotico of the court in the fable are

those of both church end civil courts: The ohorift:

has with him a curelt asayie about and dytie all the pure aen vp of land and fro the crooner lay on thane his wand fluppoln he be ale, tgw as was eanct Iohine Glen call thay be or with the Zuge compono. The revin I likin till a L1�ß, crorner ...

... Bot lake gife he be of ar intent To akraip out lohine and wryt in will or rate and co a bud at baJth the palrteio Skat (120-33)

This is a 'cureit asayie' just no the church court won a 'cursit

court' (96); they are both 'corruptit all for maid' (96 cf. 133);

as the dog was 'tale' (98) no In the coroner (127) and the fox (134).

Co in the first part of the moralitas the poet has widened his

criticism (again using detail to reinforce lain argument) to include

falseness in the civil as well as the ecclesiastical courts=

talseneoe, that is, inthe whole system of justice. He has also in

this section to ooze extent foreshadowed the oecond widening in

promising hell to all typos of 'tirrane men' - not onlsy thooo crho

take the case to court buts

... tirrane sen that settle all their cure with J men s to mak a wrang conqueist In borp this present lyfe mall evir lest Bot all begyld thay will in schort tyme end And after dead to crewall panic wend (115-9)

1. Robert ßer riion, op� cit., p. 31 n.

104.

This warning should be compared with that in The Swallow and Othir

Hi rd i e, 11.304 ff.

The second widening of the theme comes from the poet's

encounter with the sheep. The chance hearing of the sheep's

complaint' by the narrator passing by is a variation on the

conventional opening for poems of the pastoral type where a

wanderer in spring hears a love song or complaint by chance. 2

Here the poet's variation on the form implies a contrast between

the harshness of the real world and the idyllic nature of that

spring setting; the passer by, by chance, hears a complaint in

winter, a winter to which the sheep has been made particularly

vulnerable by the cruelty of others. In describing this setting

Henryson, for the first time in this poem on an extended scale,

uses a typical means of emphasis - intensive alliteration - to

stress the sheep's suffering.

Allace q he this , urait3 sonsiatory

In jLiddis now of winter it is , mid quhen Koreas with blastia bitterly with Barart frostis the rJowris doun can raid on ha jn is hair nos may I mak no ]mid and ýth that gird in till a Loif he

, map fra air sedder and _froistis im to hap Quakand for bald and zurnyngis soar among (1111-8)

1. It should be noted that there seems to be no justification for the punctuation in Smith's edition (and he is followed by Harvey Wood and Charles Elliott) that ends the sheep's speech at 1.153 and makes the remainder of the poem the

et's own comment. It seems to as that the whole passage (l. 150 to the end) is spoken by the sheep. Stearns too,

probably from his use of Wood's edition, makes this mistake (hence his 'personal'). Laing, however (14t Pogue tables

Robert Nei n, now first collected LEdinbur , edits correctly*

2. Cf, my coaments on The Reasoning Betwut= Aige and YQwth, pp. -11W 45 ; also Helen E. ßandison, The Chanson d Aventure in Middle EnAl11h (Bryn Mawr College Monographs, monograph eeriea, XIýtiryn Mawr Pennsylvania, 1913), -

3. This In the third time this word 'curait' has been applied to the courts; these Zen too are quite literally cursed

(cf. 11.118-9).

105.

In the typical spring setting of this convention it Is Often

Implied that this state will follows just as the flowers fade

Fortune will cha ge. 1 And Fortune has changed for the choopt

previously protectedg now exposed to a fierce winter. The sheep

crises

... o lord Quh e ypis thaw so lang rlalk and deocerne q saus groundit in richt luk how I om be frswd maietry and olycht petit Thu bair and so is ýC, gi one (149-52)

As Orcoory Pith points out2 this in on echo of Psalm oliv, 23

(vulgate Peal= xliii, 23)"3 The context of the quotation is most

intereoting: the psalmist recalls the nation's righteousneeej

yet they have been slaughtered like sheep. From Verse 22 to the

end of the psalm we read:

1. Again see q discussion of e Rcoeoninr Betui, g nag Xo. PP. }"-g.

2. gý , 004 Cl$ i 22, note to 1.1287. Cf" also James koftatt. te , lein Scots Literate e (London, n. d. )" p" 529

30 Wood, ignoring kith's note, quotes this os

... one of the distinguishing features that mark out the Cootsaan In any company today ... he is more than disposed to address his Maker in an adaonitory Lind chastening ton* ... this peremptory note, reminiscent of the north-country pulpit (Poems and Feblea, OD. at., pp. rvil-xv111).

Ctearns, without acknowledgement, adopts this suggestion; he says that the passage 'has the force and flavour of a sermon by an old Scots preacher' (Bob2rl Hem ag2nip ove e, p. 126). See also Wittig, Zhe Ca TradItIon-In ?es. uiv, 21 , p. O. In the context - especially 11o1 b9 tt. - it

seems scarcely 'odaonltory aM chaotening'.

And a glance at the oo=entaries confirms this: cf. Casciodorus, V! Psa i, 1I, lxx, cola. 316-7; Bode (the ascription is questionable), In Psn }"ýý'ý Librum Kxeges, ie, YYýýýýYlýiýlr ýilý 1

jNY

X01119 co]. 713.

106.

... Quonlam propter to mortificamur tote die; aestimati sumus sicut oues occicionis. äxsurge; quare obdormis Domino? exaurge at no repellas in Einem. Quare faciem tuam overtic; obliuicceris inopiae nostrae at tribulationis noctrae? Quoniam humiliate eat in puluere anima nostra: conglutinatus oat in terra venter noster. Exaurge Domino, adjuua nost at redime nos propter neon tuum.

The cheap continues In the conventional lament forms

Be how the gursit syn of Quvatys cxylit has bayth lufe

_Xawty and law

In falt of quhome the pure man is ourthraw (155-8) ... Be thow nocht lord this warld our turnit is

As quha Wald change gud gold in leid or tyn The lure is pelit the lord may do no mis Now Bymony is haldin for no porn Now is he blyth with okir can most wyn gentreis is Slane and poty is ago allace lord god quhy tholis thow it so (162-8)

The image of the world upside down is common in medieval poetry, 1

especially in this conventional lament form (the laudator temporie

acti2); other characteristics are the repeated 'now', implying

contrast with a former time, and the use of ' exylit'. The poet

is looking back to the Golden Age, the Garden of Eden - before

men selfishly followed their lusts seeking worldly goods - as he

also does, for instance, in The Icon and the Uoua and The Cok and

the Jewell. For the complaints he makes, though they are of course

applicable to fifteenth century Scotland, (and were certainly meant

to relate to it) are not restricted to it: the some type of complaint

has been made throughout medieval literature. The poet uses

universal images to expound a truth not restricted to any one

1. Cf, my discussion of The ftnt c se Men, pp. 386-7; also E. R. Curtius, luniDe Literature and the Latin Middle Agee, Ove cit., PD. 9-.

2. Cf. Utlay's review of Stearns book, pp` ei_, pp. 494-5.

107.

country or period but relevant to mankind in General; he coaplainb

Of ex, 1oitation, but he complains aloo of eoWething Toro Universal. Hia realisation is that of ßt. Paul (I Timothy vi, 9-10) t

Kea qui rolunt diuites ficri incidunt in tentationca, of in laqucua dicboli at deaiderla L-alto inutiliu of nociua, Quae Eer unt homines in interitun, of porditionea. Radix enla o=iuu neloruu oat cuptditass qunn quid= appetentee orrauerunt a lido, at inmoruerunt se doloribua mnltis.

This evil has infected all leiole of aooiotys1 cleric (165) and

lair (164) just as we saw it before infecting eooleeionticnl and

secular courts.

The eheop answers Its own question (of linos 150-168)t Thou tholio thlo bot for our grit otfono Thos eendie we truble and plolgin noir As hunglr derth wer and pestileno bot few azendle thalr We nom their foir (169-72).

This is the reason for all evil, not only human but natural! 'plaigis .., hiingir, Berth, wer. ... pestilens'. The same idea

is expressed in Lina PrSZer for the Pct where the post realltoa (as we shall see in etu&7ing this poem it was traditional to do)

that plaSue is a punishment for eint

Tho* dole na wrang to puneies our Ottena ... bot all or punalet for tbulr . innobeäieno

(62)

1. o should cozparo with the following passage in The kraio or At z

False le this warld, and still of variance Basoucht with syn and other cytis mo; Truth is all typt, Pyle has the gouvernance, Wrechitnes has wroht all welthis wele to wo; Fredo©s is tynt, and flit the lordie tro, And covatise is all the ccuae of this; (9-11e).

108,

The Biblical cc :. entariea are also helpt'ul. The 012080 0r91nnarin,

co=enting on the passage from Psalm xliii I quoted above, states

boß. Itogligore vidorio, Quaro otal neac u: uus, tu sale quoros vel pro culpLº, vol pro utilitate. . ºuod si pro aulpa, utinam abaaset; ai pro utilitate, utinam adocoot. Quoudau ropellia, quit fccioa, id oat, cogiltionen tunas ab eta subtr4ia$ obdormlo quibußdca qui geraunt do aalio.

Petrus Lombcrdun uses this passage in his Coýnrium In Pee1uoS. 2

Henryson urea a conventional onding, a prayer: 3 he ends �Q

Pox trye1 betone the I, vone and T io anti thim Paddock, for instance,

siailarly. 6o beginning with an exemplum - which provides one

instance of se=ingly unmerited punish=ant - fenrycon has expanded

his these firstly to include unmerited searing Imposed by any

court, then to all satfering, whether caused by an or natural.

And he has provided an answer to the question of e23' such evil io

allowed (it Ic caused by human sin (169), human desire for the

passing pleasures or this world [116-91), and a solution to the

problem (175-7). This expansion ho has brought about largely by

use of conventional form - the chanson d'aventuro, tho complaint,

the prayer ending - in a new contact. And by this original use

be has spade a table of limited Import into a discussion of a

universal probier.

1. Iii r Psalms, ELT--Lo cxiii, col. 909. 2. Psalm XLIII, Pars III, verse 25, yam cxai, ool. 434. 3. It may bs sere coincidence that these lines recall to me

ßt. Matthew, v, 31 Benti pauperes apiritu (those who do not desire the things of this world) quoniaa ipoorum out rem caelorus.

109.

(vi) The aoirr and the Lamb

The few indications we have concerning oourco for Thq r! olfP

aradithe Lc indiaato once again the Qualteruo tradition, 11 ýlý t

particularly the Isopet do Lyon. There are perhapO threo

distinguishing points. 8irstly U. 8-10 of our poem:

Thus dran, that' baith bot nocht of one intent The rolftla tnocht was all in wicketnea The silly lame &eik aM Innocent ...

There 10 a soZ, --what similar passage in the Ieopet de Lyon: '

Au deszus bolt do la fontalgne Li Laus, do MSOS Mal 881=81 Li W Mm de alaple coralge Bevolt au deaoz dou rivalge (5-8)

üanryson' e paZBigs reieinds ua, of course, of his own linse fron

Ttu L ou a aM the Paddoc. Xt

Thun teste for Pute that' lap baith in the brine Bot in their a`ynd thaq . er rycht different The Hogs thocht na thing bot to fleit and awyme The padok for to cloy act hir intent (99-102)

Gecondlj, the Volt accuses the Laabt 'To hurt acy drink and this

fair "attir epi11' (21). In the Isopot the L amb ezonoratea itcolt

thus:

Aruec ce 1'algue ant douce at cl©ro, No n'est tobi" ne nest amore (19-20)

Even closer here is Oualterus' own version2 where * sisilar twofold

complaint 1a na. 1e by the Wolff 'Ruplati potusque aihi, rivoque decor*=' (5). The Oualtorue tradition Is the only section of tho

veralons or this table with this twofold complaint, others, merely

I* Bastin, lit 87.9. 2. Bastin, lit 8-9.

110.

containing the Wolf's claim that its drink "aa ruined. Thirdlys

the Lsab's plea that it should not be blazed for its father's eins.

In all other versions except the Isopet de Lyon, the La 'a reply

is merely that it was not born when tho alleged crime took place.

But the Icopet cxpanies

'Sire, fait il, certalnnaza t, Cuar a not n'avoit non do pare, - ri'eatoie encore noa do maro - Cils qui von fist Si grant injure Pour cou n'en oacuoe droitur© Coast dolt comparer poch-id Cil qui n'an punt entre ontoiohi6? Dou mal ne dost poinne sentir Cils qui no Olt puet connontir Aincoie quo russe net on vie tie polo consentir en tolle. Or no a* dolt tuer ne batre= i'a pals enoor III moio ou quatre Quo cosmangal siaplenant vivre. 7gioceaco a droit no delivre (34-48)

There are obvious differences between this passage and fenrYeon' e

(50-5) - in the latter the Ieb bases its plea on Scripture= but

the idea is very aiailar and the Isopet is the only other text I

have been able to find with such an idea exprecued at this place

in the arguaent. As for the moralitas, I hope to show later the

very ooomon nature of Honryson'e plea both in previous fabled and

in other types of writing. But it is interesting that the Iaopet

develops at sore length the emphasis on extortion and plundering

which tienrfson will likewise develop: the Quaiterue original does

not do so*

I have shown than what Henryson has obtained from his specific

sources and aentioned his general debt in the moralitas. Points

in the fable which the poet could have taken from un source are

os follows: the two naiaslo, the Wolf above and the Lrab below,

ills

drinking at a stream; the Wolf's first three accusations: that

the Iamb spoils the water, that the Lamb threatens bist

( ... so Your fader befoir held ae at bait ale with boat and achoir (41-2];

we compare Qualtcrus: 'itihi damn minaric? '; whereas the vulgate

Roaulue1 reodo3 'Ualcdicie cihi4') and that the Lamb's father had

likewise oftaniod him; the Lair 'a reply: tho stream cannot now

backwaz%is; and the Lamb' o death* wo are now in a position to

discover what Hcnryaon has done with his caterial.

The contrast between the two creatures In euphaaized from the

beg1nnin, : the rolr Is 'orcvnll ... revs uo QW : ell' (1); he

will destroy a 'ail1y 1c»e' We Tho rolr approached 'with girnand

taith and an= nuatro luko' (15), adureooing the Lamb CO a 'cat? vo

vrechit thing' (16). A detail which Is not to be found in other

versicna is the Colt'o complaint of the Lam 'a 'fowll olriuering',

(18) and 'atinkrad 11ppis' (20). In the Isopot the complaint Is

merely:

Vos a'av. s oorroeies sans dote L'aigue x'aves troblee tote (13-14)

fenryoon' a addition here allows the addition or a turthor argtz cnt

to emphasize the Lrmbbu purity and innooencot

Also my lippio sen that I was a lame Twehit no thing that was contagius Dot soakit atYlk tra pawpie of my dane r7cht naturoll sueit and delicious (3&-9)

Each r4ditional argument in which the VTolt is obviously battered

illustrates further the flinsino$o of his case - and his lack of

1" t ýQýt ? viols "aoý, ed. 0nterle; p, oi. Cij,,, p. al.

112.

reason. ne note too the line: Ifelreis fra treith and contrair

t1ll rensoua' (28) f later (1.78) the Wolf till openly re3eot

reason. 'ergo' (1.35) -a term of learned debate - also

illustrates the convincing, the reaeonablo nature of the Lcmb'o

argu2ent, ae opposed to the irrationality of the cruel.

There ire also differences and additions in the oecond accusation

and reply. The c'olf does not complain that six months before

(nine Months in a few veraions1) the Larib' o father had troubled

hin, an he does in all other versions which record this incident,

but that when he I=d been troubled he had threatonod to bo revenged

'within a yeir' (44) on t ho father 'or on hie bairns' (45)" The

Laub does not conalain that he was not born when the alleged crime

took place - an he does in all other versions recording this

incident - but quotas Scripture ('DDtit with the moxth of Cod algycht'

[51])s Ezekiel xviii, 19-208'

St dicitia: 4uare non portavit filiuc iniqu1taten patrls? Videlicet qula tlliua 3udicium of justitiam oporatus eat, onnia praseeptd men custodivit, et focit illa; vivot vita. Anima qua* poccaverit, span morietur; filius non portabit iniquitatem patria, at pater non portabit 3niquitatem ftlil; Justitia juati super eum Brit, at lupietaa impii orit cuper eun.

ate ace also in hq_pui erIA P . dock - there ironically for the

i c41ock uses it to confuse the Mouse - flenryson placing Coripture

in the months of his ahcraotero as their support in a debcto (and

this dispute between t7olt and Lamb should also perhaps bo conaidero1

1. Neakaft (Basting 19 9-10) and bis Frenob derivative. 2. Cf" Jmoa ': O: tatt, Tre f tb1_ in,

ý6aots T. ltrrmtUj: jt ct, p. 52.

113.

an a dcbat©, a debate in which the Wolf retuseo to accept 'reseoun' ).

against the 1=0 of 'sod almraht' the holt sots his own wills

I litt ye wit quhen the fader offendia (I) will c1ierie none of his cucoencioun (57-8)

She third arg=ant of the Lb- an adveroary c1ould not take

tho law into his on hands but have hic ocuco triad before o

1cwrul court - In not to be found in azrj other version I have bccn

able to discover. Je note the eaphusio on the ncceasity for o

just judge i Judgment - 'lcill Iuctyo' (72), 'uncut? ect nocyc'

(74) - and remerber Tha Do _,

the 8cho,, ýjr end the ! olT. But tho

colt will have nothing to do with rossan (78).

The effect of t2: cee a4dltionc then hoc been to etreos the

cruelty, the irrcligioacncce, the lu'leasneao and irrationality

and in mary uc the foolichnece (hio arg=enta are all bettered;

in the end he hau to neglect reason) of the trolr; and, In coaparison,

the conplcte innocence and reaaonablenese of the Lamb. The

caZnItude of the 7olr'o crime Is th". io incr©uced. The tcblo ende

with a common device -a narrator's pity for his characters:

Off trio aurtbor quhat sail I eay alloco Tine this no rewth vac thin rocht grit pote To heir this silly lame but Olt thus de (C9-91)

In t1a garalitaa Iiear7soa criticisae all types - 'violQne'a

'crafts, 'sutelte' - of oppreeeion of the poor (who try to 'wyn

with lawty 2eving as effeiris', 95je ills fable has provided

a general emplum (detalla do not correspond with the inatencee

cited later) ct this type cT behaviour; and he Eoeo into the detail

1. Bs, nnetyne eoe 1ardequato hero - in uonse though not in aetre.

M*

of auch exploitation. Pirat»', false lawyers (99-105,120-6) are

criticised. There has been a misplacement of a stanza in the

ßannatyne lisnuseript. In the other texts, in discussion of each

of the three types of extortioners we find first a stanza (or

stanzas - the third type) describing the particular crime, then

an apostrophe: '0 man of law'; '0 man but mercy'; '0 thow, grit

lord'. Bannatyne's fifth stanza - the apostrophe: '0 man of law',

(11.120-6) - obviously refers to the type of 'wolf' described in

11.99-105; it is out of place where it stand©. The first type

to be criticized obviously does not directly ote fron the fable;

there the holt neglects the lawep auoooode by rapine; Ucnryeon

criticizes here those who achieve their grasping ends by pretence

of justice, 'by sutelte't

Quhilk vndir poleit toraee fat et x yngie Loitczxi that all war gospell that that' chawlo Bot for a bud the tr ew an ho ourthrawie £morc d the it garand the wrang proceid (101-4)

eutelte 11th nys Inapis aiui frowdlo Intorkat (120-1)

0o are rer2ln3ed of the bribery of the court in The n, the Ccheiv

Ejýj %be�coln and the aoene in the ease fable where the bear arid

the badger, after pretence of consultation of the law, dioaioo the

fheep'" appeal. We note too the religious element of üenryaon'e

work Magnin similar to that of Th2 122Q, the Och io #1A -the Wolff

11.116-9) not present in most of the other versions of the table,

and not in his apparent wore except as a hint (1.10)

Ott sic *oltfle hell tyre rat be thair meid (105) ... think that god of his diulnitie The wrang the rycht of all thy werkte wate. (122-3)

The second type of wolf le the opp 1ng rieht

115.

Thor lies enn. ch the pure husband hco nocht bot Coto ez4 cruse vp6ne ß clout of 1nn1 for godio aw how dar thoz tak. on hand. and thorn in borne w id yro so Deno Cn jig To put hin trä his tok and gar hic thig (115-8)

Again the poet rerºinds us of the rollglous implioetiona of the

rich can's actions: 'for godia aw' (117). Thirdly, lords who

despoil their tenants: their land In 'be godi® lane' (128) - in

trust; yet they extort more than their duel force their tenants

to work for them Without a wage.

Tow cald be rad for rvchtou© sodio blame For it crjio vcnöecnco to tho hovia co ho (145-6);

for nothin, in this worL; i nay 'porpctua y irn1ure':

For till oppreßa thaar call half ala grit pano As thaw the Pure aalo with thy hand had alano (i53-41)

I think it inportant to oatabliai thrt llarrycon" c fablo to a part

of o tradition of coclnl protest, that he to one of dany voices

rn1cod on behalf of the poor#2 that be to not deocribing opecificnily Scottish problems, thouSh or course he, doos rarer to the problem

under the Euiao o: conic:.., orcry rororo co '(using technical tome

for in3taaco) to vz e bio poluts more rolcv=t to hie i=odiato

audlezyaa. 3 Thus it will ba vcluablo to rarvot tho moral intorprotatlon

1. eannatyna's version of 1.130 (For prayer pryee and the germs tans) soe. 9a to have been influenced by 1.121 (For prayer prvice for he no law estait). Other early versions read 'And for ane tyme Oreemo o psyit and tone; a more satisfactory reading.

2. CS. Ut"arno, F_Qr& Henrysa-3,22 °, pp. 128-9. 3. For instance, for the lack of security of tenure peculiar to

the Coottiuh econooW coo I. Y. Grant, jhg i en Fc2ngjqjq Povelosment or Rc 1 aM bai'oýºe_ý 16O (I: cü urgh, 193U)# pp. Annie

ýý

Dunlop, `l' ofen Tie efJ gg, ' iiis`3li j a/` Otý- Atxiýwn t ct urgh and London i 1ý y7 ýir

ri 5ý 50) i

pp. rr..

116.

given to our table at varying times; and also to cite certain

relevant camon material. We shall then see exactly ghat Is

Henryoon"s contribution to the tradition in his morolitne.

Plrctly then, I shall exasine the fable tradition. IOW I

23 not ougeating that Hsnryaon know all, or even aany or the

1nstanoss I shall quote but the traditional nature of the aoralitae

will beooce apparent. In first century Rome, P2adrus ooaplainedtl

nee propter Illoo ecripta est homines Tabula dui fictic cauala innocentea opprimunt.

AAr*1 thie coral was echoed and copied2 throughout the following

centurlec. The Dame Ro=alua3s ... 'aio dcapnooi of oppruccoorce

aino causa inrocentec oppriaunt'. The 180 Robuluo1s ... 'aio

tyraani rcciunt: cum lnnoccntum roe vol cortoa cuplunt, dire luato

dive laluste eos soollant of opprisunt'. Marla do Franco5t

! sal tunt li riche seitnur Ll oseunte e 11 jugeür De ceua Qu'ii Wit an lur justice; paus acheleuns par coveities Treovent aces pur *us coat re: Cuvent lea runt a pleat sonuMre. La char lur tolent e Is. al 01 cui 11 lus Met a l'algnel (31-8)

T ho mention of both rich lord and judge bore in interacting

ucnryoon too sentlons both. Jacques de Vitrr6:

1. Horvl ux, 11 e 5-6. 2" l4isar £. op, Uer lsus, 11 9 132; tTisseabourg &sop. üorvleuz,

11e 157«8.

3. Herv1e iz, 11,758* 4. Horylsux, ii, 565, 50 Leert and Johnston, Stye - eit. , pp" 2-3. G. Cronw no. CXXXV, p. 61.

117.

Quan alseri qul pro stills mellls, id eat, pro Dodicu of trcnsitorio dolectatione obligunt so ad hnuriendua totuo mare, id eat, penal intor... inublos gehenne, duzt non oerviunt Domino in timore, videlicet per potenticm swam, pauperco oppriaondo calunpniantur egenio oimilee lupo qui, dun biberet in superiors psrte flua1alo et agnus in parts intoriori (lupus) cepit calunpalari .. e

This version Is alto interesting as it Introduces - as Uenryson

does - the relevance of religion to mane actions. 1ioievor, thoro

Is no need to assume influencer the religious element Is eYOr-

present in Henrj$On's work. Odo of Chariton'& fableI to handed:

'Do Lupo at Agno Hibentibus Contra Opprimentes pauperes' acid his

woralitas reads: Its diuites pro nulls causa, qunlitcrcuaque

responleant pauperes, 19soo deuorant. The Isopet do Lyons

al con 11 Lous plolas do malice Ocaist 1'Algneal simple eons vice, Autrcal a cal exeaplaire Goillent as bons 11 mavais faire. Il ©'estuldient de trover Achoisoa par lee bons grever. Per tausotr, per telonie Out oils bun partout signorie. Au deesos eat an touts place uiao vertut, droh at simplace. Li plus tort 1o plus foible eaquaiche, Povres tons eat curt qui ai valohe. 11 covient quo voincu as rende, r4ui ne trueve qui lo detfende. Apertemaat puss done oonclures

- oa. lous reigns, aorta eat drolturee Oriques vertun ne rut oegure Avueo gene qui de Nu n on cure (53-70)

Aß i have stated earlier this was in all likelihood the source trog

vh1cL tiaaryson develo; e1 his moralitas. The version of the fable

in thq ulu t Leic_orui2 also blames the rich who 'devour' the poor.

1. Uer leuz, Lv, 197-8" 2. ©. i:. M4l tl onnl US. 11284 f. 12.

118.

In the fourteenth century the same plea continued: John of Cheppey

dirooted bis fable: ' 'Contra calumpniosoa causan nocendi querenteas

"1uaaodi cunt potentes contra pauperes'. ©rocyar. 1s2

Llli rero doalni non solum permittunt tales iniusta facere, cod aparte ein praeciplunt= quoll sit ininicus tolle at nocont ale ubicunque poterit. Tales donini cunt anpidee. Lapin enin dioitur ab aepergendo, quip venenuni ore opargit. 81o talon opargunt Tenon= ab subditos at miniotron at duodonLu facientea iudicare at atto. care at arudellter tractare fel incarcerare eon, qui nolunt eorua In omn. ibus facers voluntatem do fsnditione terra* Tel dons quas deaiderant, val in silo quocunque negoclo ... Fingentee causna stout lupus contra agnus ...

The fifteenth century: Johannes Outschi3

Ole reuera hudle multi lupin repaoib}a .. * qui pauperes ulduas 11 sduonas ledunt tt eorý bona surripiunt 91 fiolenter sine lustitia poasidsnt.

Iydgntsz4

The wolle le 1ykenyd to Politys rauennou" The sely lambs resesbleth the porsrle (337'8)

CO the ace condow ation was dads throughout the centuri©a, in Rosa,

in France, In Cermanº, In England, in Gootlanä. Wo aunt therefore

1" HOrvlfux, iv, 1317"

2. Pu=v Prsediaantiua, A xii (AMQuisitio) 45.

3. (Ulm # 1475), feria tertla sormo, fole zli Q la t l%4 13*9* 'version, a later ink aumberi , p. 356).

A. 1urith, JIM 2S QUM qr(IýQgh D 7Fribourg,

191x0) , ascribes to Conrad ruets t author pof the corrone generally attributed to Joanna üritach.

4. "d. Laosracken, Te ingr Poea ofJo g ta, ii, 22s cit.,

M-8.

119.

be careZul of identifying too closely with contwporary social

conditions what Henry son, has to says it In part of a rhetorical

tradition.

Cecondly I shall examine sermon material. Natur of the

following references I owe to G. R. Owst; 1 they peen to me to be

ßo relevant that I shall quote them at length from the original,

Bro ycrd's euma Preed cant lus.

Esc intisis ergo cordis sollloite cog: tdua eat, at & cords proprio quarranua ubi aunt msli aºundi asatores, qui parua ante nos tuerunt? ubi aunt aalt anndi prinoipes, regoo, coaites, at ails terraru2 docini, qui aus ouperbia, at aagno apparatu, of aeluitatu fixerunt, qui canes aultos at aultae at : salad Saalliga nutriebant, qui magna palatia at praedla asulta at terms Tatas, can eultis redditibua possläebant at corpora sus in delitils at voluptotibus gulae, at luxurias nutriebant, qui aubditos pro praediotis nutrlendis lure, at crudeliter regebaat at ezcoriabant, vbi inauper aunt fatal anadi insapiontes, iudices, asaessores, aduocati at iuratores, staue per turf patrise ad Informs ductores, qui pro muneribus° Deus at regnua caelorua vendebant, at in infernua eaebant? ... babebit anima loco palacli at aulae Tel amerce, profundua

- ua ýa his, gill lescsndunt n

ýi'untl 1 ci Iss. 14)W. tit audaeiter querinoniaa suns cores

Deo deponere poterunt, at lustitlan peters, d1ceutea aua ludioe Cristo, oinEuii uoounentua reoitantes, in quo ei spooialiter nocuerunt. Quorua aliqui dicere posaunt, sicut cubditi aalorum docinoru®. Esuriuisue, sot dominl nontro 1111 ibi atantea boo

1. , ORS o! t" i* Orst sc asee be subject at length, 331* lie also

dismisses false lawyers . Hsnr7son s first type of wolf - pp. 63,231.2939 306,317-8 and, "sysoially, 338-49* for criticise of false larysrs see also Caxton's gIM a PIM Or itt, *d" Axon, 92,21. k, pp. 36 ff, cud y x..

2.0 ii (Oloria) 111-2.

120"

eecerunt= quia labores nostras at bone nostra abetulerunt. Alit, ecuriumuo at tame cortul sumun, at Lill bona noble debita datinuerunt. Alit, aituircuo at =1 tulua, qula 1111 ibi etantee ex aduerso qullibet Bodo cuo ita non exeruaiauerunt, quod potum, fel vested eaere non potuiaus. Alit, lntirai tuinus, 1111 boa tecerunt, qul nos verberauerunt at plagte attecerunt. A111, sine hospitio eramvs, sod 1111 hoc fecerunt, do doro, at terra noatra nos expellendo, diuee viz diaittit eine oupiditate terrem pauperie iuxta euam positea art sues eapliet, vel quia no* non reoeperunt in hospitiie rule ... Alit in carcere erasus, sod 1111 hoc feccrunt per falser cauaae non indictando, et, in compedlbus ponendo ... Iunto ludex too noble lustittea do 1121st quia ovaia praediota aale noble intulerunt, at laboroo uootrou at bona addle stiffs 'abstulerunt, vt cupiditatc euern satiarent, non tame, at laborlbue affecorunt, ut ipal delicate de laboribus nostric at boats viucrento go* leborault ua, at durara vitos dusiaus, In tantua quad in dimidio anno vix bone habuinus catiotaten nies viz pancsn at pu3mantu* at aquae, 1=0 (quoll poius cat) taco aortul tulraus. St Lilie do bonia noatri©, quaa scilicet i1 noble in aodo suo accoperunt vol 1uae nobis in necoesitato noatra nogauorunt, do trlbus vel quatuor terculia ciinictratum fuit ... Iucto Dause ludex fortis, ludus non tust bone partibus inter illoa at non. Illorum satietna, nostru tames Cult, 111orua laetitia, noctra aiserin, illorun haatiludia at torneaients nostra tuerunt tornenta, quip noatrio nuonlo at expezsis ilia fecerunt, illorum copies nostrae tuerunt maple, illorum teste, dolsatationea, po. pao, Iranitates at excessue at oupertlultates, noble tuerunt lelunia paenilitates, defeotue, calczltates, at spoliationea ... 1

1. P VIII (Furtus) 11-2.171th this passage Owat (p. 301 n) ccm,; aºrea certain linen (The riche hake cnery/Ced vulgue colluchrinatur) in a Po___±

_o T me (1308) od. T. Vright,

e Tole. Rerun Britannicarum Uedii Aovi tier ptoree" on, 1859)# it 272. Dee also J. J. Blench, a Fnria th ha

hetiß. 8.1, tivolmog- , pp. 220 r Blench stresses that thecee o comp nt are conventional (he provides examples and compares with Owat) with als ont no opocifically conte=porary rafercnce. Goo also pp. 321 ffo where he parallels these theuea in contezporary literature.

122.

we tiny the ooze coeplainte in other literatures Chaucer's

Peroola'p Talei

Of Coveitice cozen thioo bards lordahipea, thurfh whicho men been distreyned by tey2agec, custunes and cariugea, moors than hire duetee or resoun is. And eek taken they of hire bonde-men amerciments, ahicho sichten score resonably ben cleped extoraions than cmorcimenta ... ohorfore I says that thilke lorded that ban lyk rolves1 that devourer the poscoaaiouns or the catel of povre folk wrongfully, withouten moray or nesure, they ahul receyven, by the aase ses:: re that they ban assured to povre folk@ the mercy of Jhesu Criet, but if it be aaaernisd (751-2 and 774-5 Robinson pp" 252-3)

tiearysoa's coapleints then are by no moans original. In this

litersri fable contexts however# the extent of the detailed critioic

to new. as is the religious dimension of which we are reminded by

the prayer ending (a further example of the addition of a

conventional tors).

1. CZ. also lLocalws's HIMM t of Priageo, 9D. Oktc. , at. 1403'5"

122.

(Yii) The Lyon and the Maus

Although I do not think it possible to isolate the actual

source of the Lyon And the Mque - the poet conbined several

versions of the fable or used ao=e source I have been unable to

discover or, end this is most probable, expanded to suit his own

arg=ant fromm a source which we may have but whore distinguishing

characteristics do not appear in Henryson'o version -I think we

shall be able to see what is traditional to the table end what boo

been added by Eenryson" Of course, the basic story is always the

wrest the Lion lying asleep in a forest is disturbed by a täouoe

(or alas) which he captures; after argument (or the Lion'o

consideration of the issues involved) the Mouoe is freed; later,

when the Lion Is trapped, the House armes its release. But

there are certain points at which flenrjson can be shown to be

closer to so=* parts of the tradition than to others. I shall

deal with the more distinctive first.

It Is sore oonmon for the Lion to have doubts concerning the

'oruhinaas of his prey than for the Uouse to arouse such doubts

in hin as in Uenryson. Go Oualterustl

Haec tarnen ante movens animos "quid Lure pera®pto6, Laudas arit? ou=ws vlncere parrs pudet ...

However there is a group of fables similar to Eienryson. ttoakhams2

211e gesens tall rocs rogat venism "paroe, pr cor, saNro, fortissinej non e tantia Pravda tuts fideor v ribua aptu rapt ...

(810)

2. Daatln, It 29-30.

123.

The Ieopet do Chartreol follows Neokham closely. The story In

the versions of Jacques do Vitry, 2 Nicole IIozon3 end Johannes Gobi4

Is sl*llar.

Secondly, In the traditional version the ILouse rescues the

Lion unaided] tsoeever, in IIenryeon'e version the House cells his

companions to help his, There are parallele for this tool the

Rox a1us of filant: 5 (the mouse]

Cognouit terra& ! od(i]endam esse at huso replere 1tcumj ad huno laborem cohortes eoaiorum suorum aduocauit. Tunc Lao at waren com¢unem subiacuere laborem, dentibus at ungt. ibus rodentes terrraa, at latentes ingezia artie illiue ...

Marie de France: 6

Grates in tere o foctre pi Tant quo stcraer vus I pusses. 8 puts Azunt biss Yus sachiss Quo al pusses ca hors eieair; E aeo feral od moi venir Autres surfs pur met alder As cords., Qua al aunt, (d6)-'trencher K as revels ki aunt tendus Us seros mie(se) retenuz (32-W)

Ulcole Boson:

Et assemble see compairnona, o rongerent les cordes de is reje soft la focus tunt covert, e lui enaelnnerent eoient davoit roz er In cords e eechapor.

1.9aatin, It 173-5. 2. Crane, CXLV, p. 65. 3. Jc Coftet ). 0 e45, oir. tit , pp. 152"3. 4� Esili C. 1i, 22. S t. º Sol. 56b. 5. Herrieuz, ii, 523-4. 6. eds llmrt cmd Johnston, o: ),, cit., pp. 15--16.

1214.

It . ill be noted that these three tellings have a different setting

from iienryson'et the Lion has fallen into a pit$ the escape is

effected not merely by gnawing through the ropes. And the

addition Is quite likely to be Uenryson's own innovations he

discusses the Co=ons as a whole and the group is thus more

antiafactory than a mingle mouse for his moralitae.

The contents of the 4ouso'o speech ncy also help to distinguish

courcee. tie states: 'Unhelaua colt is or a cart' moue' (173).

I have been able to rind only one parallel to thin, in the

22ßs 'non decat ut nutriaaini tam viii of tam parvo oibo'.

Again. in the Louse's argument pleading his aoakneso in co=parison

with the Lion'o strength, we read:

Also ye tcnaw the honor triumphall Orr all victor rpone the strenth depenäis (255-6)

Gualterus:

De pretio Tioti pendet victoria; victor Tcntus grit, victi gloria quanta fuit (13-14)

In the öualterus text too the house promises to return the favour

(15-16) as he does in fenryson (177 ff. ), a promise which is made

in only $ fei other texts. l

I wish to examine three mayor additions in the fable itself,

the purpose of which will become apparent when the roralitas is

discussed later: the first is the post's emphaais on the licence

the &ice took with the king's person: the. )r

1. Jacques ds Vitryj mixed Romulus of Berne, tierv1suu, ii, 303; aC at W, ed. Oras", ouo its, dial. 24p PP"

164-56

125.

... to and fra attour him tuke their train ßu3 tirlyt at the canpln of hic bond t, s; grit rocht to claw his on the face

Trry azxl glcd thun dun5it thay a opals (93-6)

The second najor addition is the dialogue between Lion and

Uoucc. In earlier versions there hud been merely a ©tat=nt

by the 'ouee, l or a pica by the Louse followed by the Lion'e

debate with hinaelt"2 In Hcnryaon'a poem we are given a fully

developed dialogue, the house advanoing four reasons: one of these

at least (the L: cuoo'e plea that she thought the Lion to be dead)

seems sew to the tradition. The matter of major iaportunco to

be discussed hero is the immense care the poet hao taken to

emphasize the contrast between the miserable Uouao and the kingly

Lions in other versions little had been made of the Lion's

traditional place as king of boasts, as ruler; the contrast between

the creatures had been alaoat exclusively shown by indicating their

relative sizes and strengths. The Lion speaks=

Thew cutyve urrecht e. M viyle unworthy thing Q-ur salspert and gu, X presumpteous c' was to Dak our me thyne tripping Know thaw nacht . sill I was kollb lord nr king Of AU beietis (107-1I)

The 'sreth ', the 'thing' Is oomparodxwjtb the 'lord', the 'king's

rhetorical balance (bur ... our'; 'b&ith ... anti') r27ae ('thing'

and 'ring' are significantly rimed), double ßdleatlres (W. 716

unwort l) *aphasia* the contrast. We see it again in the Loueo'a

plods

jýffi I boasik t hr ki , alb ...

9.9 Crt2 y

first ow eJ si nyna otns (113

_. 1 he 871

1. Cf.,! or ezawp1e, Neokhsn's version. 2. Cf., for example, Cualterue Anglious' version.

126.

Tbu adjtctivoo, particularly kingly, may seem redundantt but

they tors as important part of the contrast we are exsmining.

I ain the poct has used rh. yae, this time to emphasise contrasting

phrasess 'tby kingly ry alte ... *7 eemplo pouerte'. Even it be

had been Slain and stinted, the Lion maintains the Mouse should

have knelt before him (129-33)s

Ferson tine to v tllpenct' (135)9

there In no excuses ems Qg

In the following quotatlone -

which aunt be loc to giTe eoze idea of the eAphaeis the poet

giTea to the contrast -I Shall underline once those words cx4

Fhranee as sai ing the greatneas, the royalty of the Lion1 and

twice those ezphasiaing the vileness of the kouse and the vileness

the Lion would take upon himself if he killed the louse,

A mercy jgj: j at &Inr tr eI so as thom art of iat o gorronnt ...

(141-2)

Thairfoir f Isoirdy

nma to t

aitör deld not gate ttv kiruly mercy rsik resold (245-7)

There is, of course, some description of the differences in strength

Of the two oreatureaj but oven hare this 18 not the only airrerenccz

A thowsand dpa to kahl and elk dervoir Is 11t&111 avabeld untill a wog Iyoun Pfull týsb half y" won thairtoir To quho asf, tema un It will aal" aua pa. re of your T111 slay a mors quhi lk alnQýf r Bot askand mercy at yo! a exc _ ons Also It sears to " quhllk vale mýa daa`l! clus To your taith or lippis with my blude quhimto your steak is eo iu Vri he1L= malt iu of a moue and namely till a strgng 17cun wont to be fad wi tý ny u Uy 2yte 1att arkt my dein t, e

it sr$ 1 20 f acct porauontour Cupple rot; r Kienes bound in di©tros (162-78)

127.

Henryaon hao atreccea the contract by characteristic meanst we

have noted earlier his uce of double and emphatic adjootivec (bore,

for instance, 'noble, strong'); also intoreoting are his use of

e=phatic r4verba ('and j ßu11 littill; los') and the use

of oblique ccana, cc well as direct otutezent, to cnphaoic© the

Lton'a contility ('dziylie' he eato delicious foods; he is 'eront

to be rod' with the beat coat).

The third najor addition la the Llon'o lrnents ne 'curnnnd

gaid his none' (210) just as others in Henrys n'o poems who had

eacte themselves aubjeot to Fortune, and suffered the results, nado

theirat Creaseid: '... ®eiping, echo ,. aid her Mono' (The Tgatrrent

gt= ! d, 406); Orpheus: 'maid his mono' (Orpheus and F. u ice.

133). The Llon'a complaint shown many of the formal devices of

other complaints: a heavy and erphatie alliterative patteruj the

'ubi aunt' r otif; the rhetorical devices ('but ... or .. e but ... err).

And here, as In all the complaints, there is expression of utter

hopelessness:

o -I=lt

lyoun 11EEWA heir so law quhair Is the . rcpt of thy gnificeno off quho: e all Brutall fielet in crd stud as and Bred to luke unto thy grit oxcellene But qvp or help but succour or defend In Bondia strong heir mono I, Dyd allace Till I be slane I ee none uthir grace. Their Is no by that 1111 s7 hernia vraik Nor rseatur do Qonfort to cy aoun QuhDýi sail ca, j t fra ono of this reeoun (211-20)

Again then we see the poet using traditional forms in a new context.

These additions to the story itself are of great Importance in

the understanding of the different - and wider - emphasis Henryeon

12©"

has given to the roralitaa, The usual application of the table

czy bo illuatratcd fron Ouaitoruc *ýnglicuas Tu qui our-as potos, ne despice parva potonteo, Naga prodesae potent, al quis oboaco ncquit (23-14)

Tho first ULdltion to thin In the critlcian of the Lion not

carrying out his functions as a ruler: he ooc=od to be deco (125).

ro can undcrstand nom the stress on the royalty of the Lion in the

otory itself. The criticism 10 of course not only of the king

but of all rulers:

... a prince or ez; riour i gotestat or yit a king with croun (254-5)

They have not Eovarncd well because they have been too concerned

with worldly pleasures (259-66; 281 tie). Previous additions in

the poem have prepared for thiet particularly the setting. Of

course all previous versions had mentioned a forest aottingj but

in none hrd the.. ntio use been made of it. I think it la inpliod

that the fable takes place in exactly the ssso typo of sottin8 as

the ProloEse: the dream convention itself - where the narrator'o

external eircu ztances often form part of his dream - implies this.

tiesidee, the rice say they rejoice for 'The sueit sessoun yrowokit

we to Bans' (122); in the first line of the prologue we are told

that it is a 'suelt sessoun'. The Lion lies in the sun, in a

'fair Forrest' (e8); the setting of the prologue was also in a

forest (7,10,23). Tho aoralitaa Interpret® the Torast of

line 88 thus:

: ho fair Lorrcut with , kris loon end ;e With roilio song and 1ourieforly isuolt (260-1)1

arA the prologue lays great emphasis on the birds and flowers

(6-9,111-21). The fact that thin is a conventional setting, c14

129.

opening, in mcdicval poetry scarcely necdo cºcntioning. However,

as I try to ahoy in My discueelon of the shorter poeno, particularly The Reeaoninu netuix Aire nM Ygwth, 1 this setting almost alwn3o

serves a purpose caphao1z1ng the poem's theme* As in other amen

or this setting Hienrycon employs heavy alliteration, and other

charsoteriatio devices (a, fl the land, vc t delioiuo, j plecane)

to stress the spn_ anent beauty:

In *rddla of dune that Ioly posit aeeaoun . ruhen that fair iebuo with his Dplia ^, jcht Had Amit up the Avu fro ßpill and 3oun And oll the land maid with hic j en a l�ycht

... puelt was the cmell of nloria quart and rota The noyla of pjrdlc rycht aolicluo The ]; owls bred bluzyt atone my held The mound Qorand with area =atius Off all P? lenAAnß that 'lace was wlentcus Uith davit odour and tTrcile orsrony The jerking jVld jMr i trth roe jZair fortby Tho roic fed cº ro1t mono and ýy o The ppuuroä and thu jiurpour viola To heir it was sgo ynt or Qoradys Bic -o-nth the ý_avia Ural the ; erlu couth 1qa The k]. o ßu-ai s b1y t rak up on bjuu and Ira TUs Umoll of herbis " of lowlis cry ContendluE auhn auld halt the victory (8-21)

: ho c1c nts of this do cr1ptlon are, of courco, atandard: it wo

cazpare ritte a similar description in The off trypf, before _the

i ºon2

.o find Phebus (rca1r4in, u© or pagan ewe; for thin Is ©aoentlally

o paean, a worldly setting)] the in drinking up the tnoieture;

the a211terction on 'gr' with 'grom'; tho awactacaa of the birds

oingistz. In Chaucer' s n. 4, Or- Go toU-11, Prologuo ao alo4 find

tho flcwera 'vlyte and redo' (P. 42), the enphaaie on the word

tweet (uaed three Limas in our pasaego, three ticoe in 11.118-20

1. pp. 344_g.

130.

Of text F of The i. eren4) and on the 'odour' and the einging of the

birds. Uenryacn' e passage is scarcely one of 'personal observation' S

It is conventional, yet it is of utmost importance to the theme of

the poem; we note the way in Which the scene in described; it

is or supreme beauty: 'loly', 'cueit' (used three times), 'fair',

"brycht', 'fleht', 'delicius', 'gratius', 'plenteue', 'm, ld' - it

Is indeed a 'poynt of par&Us's it seems like heaven, and it

actually takes the place of heaven in worldly ziele. But, an we

knot by laplication trcel this convention# c2 a an the author

ezpllcltly ©tatea, these Hoye are trano1tory, rata®t

... R. ycht as the roe with front and winter reit faidie co dole tho world and thazo diecsvie quhilr in their lust conx'idene havio (2C4-6)

The Lion In deceived by the world - he enjoys its passing pleasuroo.

Co hei

2e11sad hin e1at end boll. y at the son Vndir a tre lay in the rair lorreat (07-8)

We are reminded of the Pox who# utterly blind to reality# having

deceived himaelfs

Yadir a buaX Quhair that the oona cocrth bait To bock hie breiet end bellye he thocht beet.

(T pc* arm the Wo1rs 143-4) Co the wetting reainds us of the Lion's subjection to the world's

values. Perhaps too such should not be made of the tact that the

Rouse succeeds in hie plea by nethoda (belittling bimselt, praioing

the greatness of hie King) very ei-filar to those used by the roz

to deceive Freir Wob'' Waitskath, though worldly creatures are

cubject to flattery and . hott arm be ao«. o irony intonciol. It lo

interesting to find too that sa. Zy of the phrases applied to the

Lion in The Fozc trsreci before the 1 yono - whore ho reproconto the

131.

world - are applied to him hero: in both they are lordo of 'all

brutoll bout' (Th ge V4uo, 213; The ox trve& b©toro

ths) , ioq , 60 cd 62). Tho Prolog (43-56) hoc already informed

us of the connotations of 'brutoll boiot' in the Fnbi] o,

representing troao who have cubjectod tho aelvoo to thin world.

In both we rind cantioaod their 'celoitud' (TM I ortcrd cr4. -tho gouge

1691 The Trini, 64 and 141), and 'hie magnificence' (Thg I, Yon

lh® , 116, T1 e. 1rlnll, 64)o lint in both the greatest poaoiblo

contrast Is m: -de between poTarYul king and bane subjects. The

Lion'" complaint also reninle of his subjection to Fortune=

1ikew1ce the Not - but that I shall diecuee furtho. when dealing

with Th FTml1n r an Oth1r R1ir! iip,,. Thu Lion haw fallen bocauca

it has placed its trust in passing pleasures; Fortune hac thud

power over him: a lord (or any man)t

rollcn1 In tarldly lust and vune plcccndlo Yep be ourthrawin distroyft or put dovun Throw fall fortoun quhilk or all varloni Is hull asintrea and ledir of tha dens : ill lusty can and bindio thane no coir That they no porrell can provyd be foir (282-7)

The second "1doning Is the interpretation of the game of the

cleat the, &rot 'wantoun in'y

think there Is no question herd

to Stearns suzzcstasl they too

(120-G) i the phrase '53 rry and

poet uoai it of the Fox in ^t

glc1 that cu =4n ryas the z ycht'

a wltho'st corroctioun' (268). t

of Henryeon chea4ioning the poor,

are blinded by thio world's delights

; led' (96) le interesting= the

^ox ýnd the '+ olfl the was 4aöx7 aril

(1! ) , nicht in which ho could do

we"Pe

10 F-0'0 3, o city, pP. 117 if..

132. core evil. Stoarna provides a parallel between the fable and a

contc:. porary event: the capture of Jaao© III by Dir Alexander

Boyd in 1466.1 However, the co==no did not loose the king on

this oco$nionf end curoly Stoorne ©icundorotando the conventions

within which Ilenrycon was writing. He otatec:

Henry con to crphatio on the subject of treason, osorting the lords to keep faith with their Ring, and it may be added that troacon a ong the nobles was particularly frequent during the reign of Jass III. The poet' o cyoterious state=ent that he will not explain any more at the tine, but the king and lords say voll know what he memo since examples have been secs hereabouts (il. 1612-4) reinforces the impreoaion that Iienrycon is alluding to contemporary events. And, finally, it should be noted that in this fable alone itenryson goes to extravagant lengths to keep hicoolf in the background: not only is the vehicle for this criticism a dream vision Eros which the poet oaken at the conclusion of

, but also criticism itself is the jigroUtLi placed in the mouth of Beop. In view of the despotic power of the feudal lords, Henrylongs precautions may have been quite necessary

Now the rebellion Renrycon complains of is not that of the lords -

he complains of their worldliness - but that of the conmono.

Besides, it is debatable whether disturbances were more rife under

Ja: es III than at any other time. Otearns takes no account of

the fact that each complaints were part of a long tradition:

rebellion was similarly criticized in thirteenth and fourteenth

century poems. The poet's 'aiysterious statement' is a rhetorical

convention for iaplying that there was a great deal more wrong.

10 L, oD"3igrü n. n Olt* . pp. 15-18. 2.1bß, pp. 17-18.

133.

And atoarna has misunderstood here as elocahoro the r8le of the

narrator in zcdlevol poetry: for he, no for as I can oeo, 10

coldoz meant to represent the author alone, but mankind in general

(I drall diccuso the narrntor'o r8lo in thin pooh a little later).

The dream convention to not a means of putting the author in the

background but a zoano of extending the theme of the poem. Becidea,

I tall to sea that fenryson neod hide h1rcelf for roar - he oritioire©

openly in other poesa. : 7o7 I am not denying that there Is

probably oo=e criticism of contemporary ßcotland= but I do deny

that the action refers to any particular event - or at least to

any particular event that Stearns has pointed out - and I think

the poem has a far wider reference thrn to one particular fifteenth

century coeiety. For the poet Is referring to all lande; the

Lion does not merely reproaent James III (oven if it door represent

his) but all ruloro who are worldly:

... a prince or oapriour A poteatat or it a ling with croun (254-5)

The one wi for the country (Scotland? the world? ) to be returned

to order - the order it has lost since the Fall in tact, for this,

it cec e to ae, le that this tradition of complaint often impliool

is for r^alere to turn their backs on worldliness (that is why the

'kirk en' are urged to pray constantly (2961, for this is a

religious ratters as we saw in T hg nog, the Pcheip rind the noltf

sin is the cause of all misrule) end lead their people rlghteouolys

as should parallel 11.267 ffe with ije PXU! ir for thou 11.57-92

1. Cf* the discussion of tine and "reflections of oonteaporar/ life" In melirsyal religious allegory in DJ. Robertson, Jr� Zº P=f e to ('7 tcer, on, cit. p pp. 300 "2.

i34.

Sot Wald the beiddismen that aowld kelp the low Pusneles the peple for their tranagresaioun Thair wall na dold the peple than owrthraw

All arc worldly. And £sop complains of all - in conventlonßl

constructions ('flow ... ' _ 'rycht few or nano') certainly,

1 but

Providing thus another exa=plo of Henryaon'e oreative use or

convontional foray -

M. w in thin wand no think rycht few or vane i' 1 godis word that has deuotioun The elr is deiff the hairt to hard an atone

oppin E13rn without corroctioun iE inolynaad to the erd ehr dour Cua rowetit is the "arld with canker blak ... (? l-b)

We ebou14 ooapare with An. Prerer fortbýt line 528 'for

oppin ern thair is set no resold' (this whole fable deals with

uncOrreoted sin - 'without correctioun') and Orp eus and Eupydice

1.4531 'Their fotr dounrart we cast. _ our syr4ia £'. loop is

co©plaining of the world as a whole and in this connection we aunt

e es ne the r8le of narrator.

But before doing this I shall examine briefly the third

addition the poet makes in his aoralitaa. He states$

ott tyme is sane a Man of small degre has quit a commoun balth for Sude or ill as lordis has done rigour or grace his till (278-84)

Not only do is seemingly uniaportant repay good, but evile in

the Fable, lIenryson showed us boa the Lion 'slow bg1th tame g

vy1d' (192), asking in the land 'a grit dirray' (l93) until the

people found the means of capturing him (191i-3). The people, the

poet interprets:

1. Cr" mW work on ThA Want -or

Ugg Up DD.

10 US Do&@_t-hg ram

135.

Waitit alvoW saendle for till get For harte men ertis in the marble stone (290-1)

lien re; rar evil - which is constantly remembered - with evil, good

with good. There are other fables carrying al=llos ideas: that

of the old Lion being attacked by those he had attacked1 and that

of the Mouse rescuing the Lion who had helped her but neglecting

the Fos who had refused to do soot

The largest single addition to the poem Is, or course, the

Prologue. We have already seen the ways in which two of its

parts (the setting and Asopts complaint) have helped to express

the these of the poem; we must now examine the remaining parts:

the narrator and the portrayal of Leop. At the beginning or the

poem the narrator is shown as overcome by this world's delights;

and he is as slothful as the Lions he rises late (at least that

is what I take 'in a mornyng betwix midday and nycht' (5) to mein)

from 'iewth and Aleip' and goes out into the forest where, under

a tree, like the Lion, he falls asleep. He too seems worldly and

subject to Fortune (just as the narrator in many of iienry. on's

poems appears in the same plight as the central character) and the

dress setting emphasizes and extends this. Chaucer, following

uacrobius, 3 writes of dreams:

The very huntere, slepynge in his bed, To wode syeyn his aqnde Both snonj The jugs drezeth how his plees been sped;

1. Vincent or Beauvais, HervIAux, ii, 2371 vulgate Roaulue, It 16, U$eI=tZwjIv oRg ed. 0 sterley, oc. alt., p. 99; Jacques de V rar CLXXXIV# pp. 77-8; M alt s crew yuj, od. Graeese, ýý dial. 110, p. 2631 broayard, o Ms ? rraedleantiu*,

H lY (honor) 8. 2. QDecu1W GAt1encie, 1,18, ed. Grasses, 02a cite pp" 24-5" 3. Ct. Gneoh&, tre with Introduction

and notes .º. t1tahl (Records of Civilization, Courcee MA Gtudiea, od. Austin P. e vcna, XLVIII, New York, 1952) pp. 88-9.

136.

The cartere dreseth how his cartes con; The richop of gold; the knyght fyght with hie fonj The tyke &et he drynketh of the tonnes The lovoro met he hoth his lady wonno. Can I not ceyn it that the cause Toro, For I hudle red of Arfrican byforn That made ao to notte that he stod thorefl

The dream to or subjects previously occupying the dreamers' Hinde

(so the narrator in The Bg xv�f the Duches2 drealza of what he has

been reading; but what he has been reading concerns his own

affairot love; it has been implied that he cannot sloop for love).

In our poem the narrator - who, I think we are to presume, has

already told cyo: e of Loop's tables - dreams of Atop; but the dream

concerns hie life also - his olothfulncoo, his trust In the pleasures

of this world. Go the indictment of worldliness and oinfulnoco

applies not only to those within the fable but to all on without:

to u© in fact.

The portrait of 'flop Is both interesting in itself and interacting

is connection with the theme of the poem. It recalls the description

or Uercury1 the god of rhetoric, in Thg T ita ent Qf Creaeeid as

orcgorj C ith was the first to point out. 2 But the re semblancoo

are perhaps only superficial. In the 2astMga Mercury cmee 'with bulk In h'. xt' (239), 'with

, pen and ink to report of reddto' (242)o fers, of EeoD.

A roll or paper In his hand he bair A svwnts pan stickend undir his oir Mie Tnkborne with a pretty gilt pennair (36-8)

1. Tree. Per1%. ßm vli, 11.99.108. 2. EMgt on. c1la, 1t 23, note to 11.1343-13115"

137.

Both are dreeeed in acadewio robes: but Uercury hall a scarlet

Gown with a red hood which he is wearing over his head# it seemes

'L3 ke to aas Posit of the auld fassoun' (245). Herbert Norris

writes:

A bood "". ras used from this time [i. eo the reign of rdvard 11] onwards as a lark of distinction for university graduates. Originally they were always worn on the head, but later, after the fifteenth century, they were worn oQ thoulders and hanging down the bank

It Is to the earlier style that Ilenryson seems to refer when he

speaks of 'the sold fassoun' in bis description of Mercury= be

portrays Lao;, however, wearing his hood back '... In heckle vrs

vntill his girdill dour' (32). And It Is the bonnet (conceivably

the pilaus) which is of 'the sold faseoun' t33). Leop ware white

Own. puryle brown chancre and scarlet hood, differing thus fron

itercurl. C. A. A. Franklyn tritest

I... frog a ooaparatively eary period aaveral types of over sown, olook or hMbit appear to have been worn vi the

! PZn cleggo (clocod clock or cope the r g, a d1snitied cloak probab s eevoleaa= the chimp era

jchimere), a

len alecyelese sown with a side alit for each arm aad cassock sleeve to co" through] the -ý aI SM 19 a, a cape with sleeves ... j and or tabard# which could be sleeved or a eevoless. The ceremonial dress of Doctor was the cam r, & clouna or g ,I jua but by 1463, as the unique mawasor: pt o Haw College shows (that of Thomne Chauncolor prepared 1461-3) it is clear that the favourite aeadeaical dress of Doctors ... was the chimera, doubtless a sleeveless tabard, with two side slits for the arms, the round bell-shapod acadesic cape and hood and short liripi , and the tight round skull-cap type of pileus'

1. ' FQVt =, ii, 8cnlao to Dosworth 1066-11185 (London, y D" 213.

2. 'Academical Dreaas A Brief t3ketch from the twelfth to the twentieth centu 100 with especial reference to Doctors', ý, IX. i1 (rs inter, 1946-7). pp. 78'85.

138.

Co Asop is portrayed, it seems, as a learned man, as a near

contemporary, appealing to fifteenth-century society to reforms

his fables are relevant to all times. The actual degree ascribed

to Asop is more difficult to determine. It could be that of

Doctor or Divinity: at Oxford at any rate, Doctors of Divinity

wore at this tlae, scarlet hoods and were thus distinguished fron

doctors of other faculties; 1 however# colours differed from

university to university$ doctors of all superior faculties at

Paris wore red, for iustance. 2 If the degree be that of Divinity

ea Aae1e In given to the essentially roligioua nature of the Pablo.

The narrator in his dross envisages Leap as having something to

$17 dirsatly to his own conditions as Laing has shown3 the portrait

of &sop Is not traditionalt it is a creation of the dreamer's

isagination, baring on his own airauaatana...

So f enry son has taken a fable of linited significance Illustrating how an unimportant saut can rely a powerful men for

his LIrcy - arid, by original use or aonvsntional neterial (the

spring setting, the dream vision, the complaint against the abuses

I. C. A. U. Franklyn, 'Acbdealcal Drone's opg}t,,, pp" 82-3.

2. li. Randall, 1he V8i 1t 1A, sd. F. K. Poxicke and A. 3. Lzident Yo a. Oxford, 9, iii. 3e9, no 3.

3. jbg st_Peb1ee or Robert Kent, ß l4, pp. 292--3. In the words of Caxton 's versions of the Fables, and as

represented in the woodcut, sop was "deforsed and evil shaper, for he had a great head, large visage, long jaws, sharp eyes, a abort neck, curb-banked, great belly, great legs crd Urge root - and yet that which was woreep he was dnnb and could not speak''

139"

of the age, a dialogue, the complaint against Fortune) has c=e

Its restricted theme more universals a plea for good government

which can only be achieved when rulero and people see human life

In its proper p©ropeetive and purpoae and desire the general

good In forgetting the passing pleasures and temptations of the

world, pleasures and temptations which lead to disappointment

OW destruction both personal and national.

The six fables we have studied so tar form a group in the

8snnatyne idaniseript. And I think it Is possible to see them

as a study of one theme, that of the dangers of worldliness. In

Us first three tables this was examined at a ercona levels

the examples being gluttony, avarice in 1ho Co ct and th" JcweI

and the Ile JUI j# the perhaps fatal otruggle in on between

ceacuaaity (rorldlineas) and spiritual values in TeL'ous O t; s,

_c The dangors both in this world and the nest are portrryed

and thu ready c2onn. In the second group of tales the danger of

worldliness on aa! is scale are shown - when men forget that

We wrorld's pleasures art passing, put their trust in thee, then

the use oypressive and illcgal means to obtain thaw. This leads

to s-": ttering aso: Zat the poor and the breakdown or civil order.

For all disruption is the result or sin, of nisplceod 'values.

But these wboas greed lends to national disaster will rind that

their trust in this world's transitory pleasures has been vain:

they will beer the conoecuences in this world (The 2 ns and , hit

rant 481-7) or the next (The hog. t, he Och*LR Ud the vg Z, 115-93

The C211 and 112 trab, 105,144-54)"

Iwo

(viii) The Swallow cud Othir Birdie

Aß in the previous table discussed@ co is T -ho

Pvnllow

O hIr A Wto, Henryoon has taken a fable of 11nited eigaifioance

(Cui ne prant lo coneoll dou ©alGG Lo fol croft, of l'en vient domaigel)

and by additions (the introduction] ch=son d'avcnture cottingf

expansion of the tale itself by 'realistic detail' and In the

speeches= a much wider interpretation in the csoralitao; the

prayer to end), mang of them conventional in fora and though:,

mazy used elsewhere by Henryson himself, made of bi© original a

fable of roch wider applications it portrays, no do cost or

Henrycon's other poems, the folly of trusting this world' a

pleasures, of blinlly neglacting sternal values*

eo must see first what the poet has taken fron bio aourceo,

then discuss his additions. The tale in most of the prcY3. ouo

tellings is very similar: a swallow warns the other birds (usually

twice " once when they sec the used being sown] again when it

is ripening) of the danger to come. They laugh at har but are

eventually caught in snares made rrom the flax. An with several

of the other fables I do not think it will be possible to isolate

the exact source; but there are two interesting points. Firstly,

the nature of the reply to the Swallow's admonitiorsj in flenr7oon'

poee the Lark speaks on behalf of all the birds (11.120; 141).

In all previous tellings of the tale# except Icopot Is the reply

1. Isoeet de Iron, 11.21-21 Bastin# iii 11ß-9. Untortunatoly a large portion of the beginning of this version is missing asking discussion or sources of our poem somewhat tentative.

141.

had been mode by all the birds: so Gualterussl

: urba tugit canon monitun, vanosque ticores argult

... Ruraua Llirundo tont instate poriculn; riaont Rotass Area (5-8)

But In Ieopet 12 ire read:

Dame / rondelle, dit d'Aloe 11 A'est pan mout aalfies Qul 106 A faire do=alge au predomae; (19-21)

Not Zsopet I, If It can be a source, cannot be the only veroion

IIS47. soa knewt there Is but one warning to the birds, for inotcnco;

other veralona, like Henryson's, have more. Besides, the argumont

94ve oed by the Lark cannot be paralleled in Iienrryeons

Aler on conveMroit a Rome ß'i2 en foulolt eströ absoul©. Li villain# pour drape en eon doe Fairer a same le eerance Non pan pour ncus faire grevance (22-6)

but the .. cons part or the caraiita or the Isopet does remind us

of tiant7aon&a « aiia on foreelght=

Cile qui se vuelt bier sou nsr, Le tszs present dolt discerner, Du preterit cvolr memoirs, 2; e Bolt bobaacier de Crrsit gloire, Et dolt is tamps a avenir Pcur loirs ccnaoil retealr (43-50)

: ho ceconl point concerning detailed sources is the nature of the

ezuin8. In ell rereitna of tro table preceding UCnr7son9s, the

L, rrallo:, tiring that tte birds will not listen to hors goes to

live with the rid. Thus 1eopet 2:

woo 9 TClade ac; ueo lul dccnoura i ~i ores,

Et de *on chant le doduird" O f- 2-4)

10 8aatlA, Ile 26f 2. fl astla o 119 212-4.

142.

Even Broryar1's version, l

which is closest to Uenrveon'e in

inter; reting the an=os as the nets or the Devil, aontaina thie

dotall

Exenplo hirusndinum quo oooundua tcbula® cocietate. i aulum dismloerunt, niditicando et can honinibua et in domibun conuercando, qulo illaram coanillo noluerunt linua In tlore deatruere, anteauaa ex co tiorent 1r4uei ad auea eaplendum. Ita nolentes uti conailio cd euitationen 1iiqueorum dieboli, derelinquant.

1: owever Renrycon, consistently, for one would hardly imagine him

wishing to chow the preachar living with the Devils omits this

incident and providoo mothers hin Swallow Civoa o third warning,

just before the birds fly to the corn laid in the trop3 thinking

that the 'churll' had 'pietie' (234) on them. : ho ocone is vary

like that in cnothcr version of the fable, which lo to be found in

the Vulgate Romulua2 ezd in eorre of the versions deriving from it. 3

I quote trot the LBQ Romulus:

Con, Gregacio scam Avium facto eat in cnapo uno of conco1erunt universe. 4uo viso, Auceps recia cua cptavit, ut eaa caperat. Vieu ua ant Avibua, quoll alle homo pro eia faceret eiequo vial pararot. Dixerunt quolue rotor so: Tam pium at alaericordem homine numquan plus vidimua. ecce, quantum oonpat(itju(rJ nootre micerio, visa nobia proparet, at, cum non reapioit, do

ictato lacrizatur. Erat enim Me lupua talc Pro 11ppue) at lacrimosoa habult oculoaj

inu3e putabant eum habere , Pias laorluae.

Tune una, usltia pfriculla inotructa, aepe entre 1a ucca et recta cvaaerat, tall voce

rýýrýwwwýwýýýýw... wýrww. wý++ýwr rrrrrr

1. rti, # Praeclt lug, ý., 0 xi (Consilius), 20. "s

2. fisin2k§, e1a aaQD, ed. Daterlej, s j, p. 179. 3. Vienna-Berlin Rosulue, liervieux, ii, 448; Nloranco Romulus,

Aerritux, ii, 506; Rosulua of ttilcnt, liervleux, lit 5421 LB Row4luo, UicrTieux, ii, 620.

143.

ceterao increpiuts Misere at minus provide, cantua hominis Quoa diligenter auocultatis, lam super noa recta ducent, at alai ciciuD rocodatia, lam in saccum trudonini.

Qe =at now oxr=ine the additions made by the poet: the first is

the long introduction (11.1-91) the purpose of which is to chow

man and the world in their true perspective as ignorant in

comparison with Ood's fn 1, aight and complete knowledge, a peropeotivo

which man in his blindness, often neglects; tho Fable Will chow

uo auch neglect and its concoquenoec. The poem beginn with a

Otat=ant of the nature of Jod; the magna or emphuals aro typically

H enr7 eaalaa:

The Al prudence and virking Wryeaull The RERX*Haft wit of god gpn; oojgM In jjq. pert7t and jj& iagwni" 1 Ftco and te aonnia argaent (1-4)

AlZoat fron the beginning, the contrast is made between man end

üod: 'a ' &, ' a argument is '' lees than Ood' o. Thio contrast

lo cainta. ne3 - 1a wldcned and eaphea1ead - throughout the next few

stan=z, To God everything le present (this concept was examined

at loagth by Doethlis2). Mio can see (the e. ycht, 7) enerythin ;

olearly: this concept or seeing (and Its oppoeito, blindnese -

i rance as oapoocd to kno ledte and foreelEht) le the central

theaat1a contrast of the poem. But we cannot see or understand

Ulm for lie 18 pare cpirit, our souls are tainted by our bodies:

1" Ia (1.55) llenryaon again uses the phrase 'pro ounrs vt-La one of the gilt® Talia givoo to man. I mention this roferonce as a ainor example of what we shall lind about aal Vhraaee and iaagco in tho pooh, that they are part of Uenryeon a common stock of vocabulary end Imagery.

2. Le CoMISS12at p, Bk. V, Prosa 6. In Chaucer's trans et of UoD con, pp. 382-44.

1144.

We *y nocht cleirlye undiratand nor see God as he is a thing ceiestinle Our wirk cnd deidlye core materiel. Dlinälc the spirituell oporatioun Iyke an nnn rar bu1in in presoun (10-14)

The poet stresses his point by his rhyme (corporals (9] ... o

celestials .. * nateriale), by a typically repetitive statement 'undirstand nor see (ignorance and blindness) I 'mirk' again refers

us to the blindness of our natural state; 'deidlye' - we shall

ace uilo literally in the fable itself. These atotenento and

magus are of course conventionals ßoothlues1

and if that In eenoible bodies, no I have said, our corage nis nat. ytctuFht or enprlented by paasioun to knowe thiae thlntae, but demeth and kno`eth of tin otre strength* the pLacloun or c'iftrance rub ject to W he body roche more than tho tUn$: ea that ben absolut and quit fro alle talents or aftecoiouno of bodyes (ate ;of hio nan l) no folicn not in discerngnge thyngeo object I'm vithoute - forth, but thoi acccmplieeen and a; edcn the dede of hir thought.

The concept of the soul as Frisoner was ccmmont it Is found

oleamre in Hemeon, In Tho nl_u& Cork»ý The concept Is

coeming2, y Platonic in origin; Biblical coiientators often

Interpreted Biblical pacsaEeo contioning prioonore with the idea

in diixis hough often referring rather to ein as the captor (as

In The' J3luº"r re k) than c; eeitlcally to the flerh: the follow1n3

extract trot Caseiodorue tnterproto it thus szx: In rlao intoreating

in referrln[ to t: e concept or man as blind which we shall discuss

acct* He coancnte an Psalm cxlVp 7-8 ('... Dominus ooluit

ooappolitost Doa. t:: ao Illuminat osecos) s

1. Book V, Prosa VI Robinson, D. 360.

145"

8o1vit utlque aoapeditos Do. iaus Christus sicut in c"vangelio dictum eats '"n

r bnt hang ! ian nuam a nvR n Untam)o dece: a et oo annin gRITI ab infirm tat© ca (Luc z. 16)T Und boo non colua do voxatione iicundi e; iritua potent intellegi, sad etina do o=ibuo vitlio, quibua cone nootra quasi quibuad an tuaibua illigatur ... Sequitur, Donloue u*laat_caeoos. Omnes vitiosi ease aunt, quia peccatorum obccuritatibus iaplicanturl

ýA. Auguatine, however, opeaks of the body ne a prioont ooa enting

on Psalm cxli, 8 ('Edua de earcer" - some texte read 'custodial -

onie seam ad coatitendun noalni tuo') he vritoe: 'Aliqul gutem

dlxerunt carcerea latun et opeluncan corpus hoc ease'. 2 Uan as

naturally blind was also a common modieval imago: IIenryson's own

use or it in The Fox end the r; olf nnd, especially, in Orpheie_nr4

I shall discuss further a little later; Doethiue makes

auch of the blindness, of the corldlyf3 Chaucer speaks of 'the

blynde lust ... ', 4 and, of course it is another biblical images

Rupertua, writing on St. John ix, 1 (Et praaterieno Issue vidit

honinea caecua a nativitate), comzents: 'serum utique soilicet

gontiun, caooitaten originalca, hooo into a nativitato oaeoue

aigaificat'. 5 The attitude towards the flesh Is of course Platonic;

but it In also Biblical6 end was cozoon in r3odizral theology: in

1. Rxltio Inn Pss; l eri , Psalm cxlvi; P. L. -lac, col. 1032.

2" ds Servo ad Popslum, ZAJAL sxxvii, oo .

3.0k. III metri ß and 10; Robinson, pp. 3 &7 -8 and 352-3. 4. Troll_ is Cr : ode Y, 1024. 5. In ! Nt'r elivs Q. Joannis C Qntariý, E &L. clxix, col. 587. 6. Cf. Oalatians vs 16 ft" for instance.

146.

oermoae, l in *rotical "riting,

2 in the oonoept of the world, the

fieab and the devil as onn]cind' " greatest eneIIloe. 3

The third stanze continues the eiphaeis on the darkness of

our state - our lgorance. The paraphrase or AristotlezZ

That man aaule Is lyke aae baxkie es Quhilk lurcie still as lang as lycht of dey le And in the glo: ing cuml® Furth to flee (16-18)

rounds us of the Fox's notions in The Fox r that he

... durst no more with ciching Interaell Als lang as lace an lyoht was of the dar But bydand nycht full ©tili lurkand he lay (5-7)

Yurther e1s11crities of rocabulory and idea between the ßecond and

third otnazaa of our poem and other of Henrgaon'o poems must be

noted. Orpheus ('the palrte intelletyto') las

... separat fro sensual !o Suriäloea Is our etteotioun Be rantogZ oft ®ovit up mid noun (430-2)

Orpheus 'bIlrsilt was with grit "ffectioun' (388); the mind govornol

with sensuality is ' with lust and any nocht vpwartie tie'

(434). In Th=2W the fiolt, the poet speaks of those 'Vincust

with carnall p' (170). In The Fox t=gd before the tg2a4

we find:

1. a`. 0. Rosa, I114112 1n 1erone, 02m pp. 73.2679 2. TLC 91211d CC t' , cb. 66; ed. Phyllis ilodgeon, one,

D? " c-9" 3. ®. 0. Ross, W'ddle , n�i 1ieh POMQne, ou. 01 tat Pp. 111,270. I+" t'eMhiss s II. 1,3 (c( 993). It roads, in Cardinal

uessarionwa translation Parisi 1515) Queensdmodum enih ves; ertilionem oauli ad lugen

dies se hzbent: its at intellectus cnimae noatras ad ea Que manifeatisaina omnium aunt (p. 150)

There is of course no religious connotation beret Henrycon has ezganded the lauge.

1147.

This molt I likkin unto aue21tee Aa quhen like brutall bestir we accord Our rind all to this varldeis vanitee Liking to tak and loue his as our lord (309-12)

These references help us to sea the unity of iicnryaon'o work.

But cuch similarities should not blliin pus

to the fact that, he

uses this vocabulary and imagery dittercntly according to context]

here he speaks of man's soul, when coarsened by the flesh, as

perpetually blind to the nature of God; in Oruhevo satt }urYdice

cr4 The-Fox and the Vfolf and, to come extent at least, later in

our poem he implies that sun is blind when serving the things of

this worlds not when he is acting in a truely Christian fashion

cnl scorning the world. But of course this is not a contradictions

can is completely blind when following this world= but oven when

following the true way he is still blind, restricted by his own

place in space and time, to the true nature of God. (Dante, while

ascending mount Furgatory and the heavens, following the true way,

is still isnorcnt of much concerning the truths of God. ) Linn must

realize his 1Enorcnce compared with God: indeed we might any that

he is blind when he does not recognize his blindness, as the birds

will not r. oognize theirs.

The poet continues to strew the difference between God and

ß&AI

Ffor god 1a in his power intiayte And ssnnis saul© is febill and ocir small Ott undirstanding walk and unperfyse To cosprehend hin that contents all (22-5)

+Io note again the use of two adjectives ('tebill' and 'small' f

'walk' OAI 'ungert'yce'), the stream given by the adverb larir',

t ho use of Mhrae to point to the contrast (small ... all). The

148.

word 'wail' reappears throughout the =able, tecinaing ue of

Its Context here.

In the first three and a half stanzas then an has boon

shown to be pitifully Ignorant conparod to God who Is omnleclcnt.

This will be illustrated by the tale=1 the Swallow, preaching

the word of God (and thus able to expound Ood' o knowlodee) hoc

foreaightj the bix%da (mankind) are Ignorant and doomed unless

they 'troy femlie and lot dirk reaaounie bo' (29)" Again tho

advice is traditional. tie compare with at atioul trooti®es

Sot sith alle resonable creatures, auagel and can, bath in hem, ilchone by hemself, o principal worching might, the which !a olepia a knowable mights and another principal Rorching mi&ht, the thicho Is clepid a louyng might; of the whiche two aightes, to the first, the which is a knoiyng might, God, that is the maker of hew, In suarmore Incomprehensible

For haue a can neuer so mocha goostely vndirstox4yng in knowyng of alle mud goostly thingea Tit may he neuer bi the werk of his undiretonäyng corn to the knowing of anun-a sd gooatly thing, the which Is noght bot (3od3

Gerson material:

And thertore we that beleve thus, lat vs not be to inquisitiff in oure wittle, for Ood forbedeth it and eerth to euerych of vs this. vordee, "Cora thou no nere hidurrard. For tho thinges" eeyth our. Lord, "that beth aboven )grnde, sieche not to knows hem naturally, but rather, " seyth Ood, "loth of thi shoes or thi teats" - that !o to says the sotell couaryngus of thin attecolon for this erthe that thin atteccion stondeth on in this - "dowtynge it is an holy grounds: Bolus oalcismenta Deduct tuorus quia locus in quo

1. Cr. Denton Fox, 'Henryaon' e Feld g' , op, cit., p. 349" 2. of tU kn, oh. 41 ed. Phyllia Hodgson, OD.

pp* " S. ibb id ., oh. 70, p" 1255.

1Z49.

star terra sancta eat" ... Do we than as I: Oyses entormeth us in ys obeynge veto Ood. Pirat, jut us keuer the face of ours uixiirstonding with the iudure of fey3tho, that we wauere not in non article or oure fe93th but fully belsTe hea

Postar: tiocalere's fRog"ien of' Prlnýt 2

... Ffor manner reaon may not preue cure fey, That they sole It dispreuen or denye. To cure lords god that aytte In hevenea bye,

Schal they desgre for to ban egal? Nay, that was neuer, cartes, ne be ocha ll (332-6)

aiuilar parallels - for this and for all other passages for which

parallels have been found - could be multiplied almost indefinitely,

but no useful purpose would be served in doing co: we are not

looking for definite sources for ouch a search would be fruitlecal

we are exanining how fenryson draws his material from a oom on

stock of image and thought, and bow, by combining it freshly -

for instance with this fable - he gives it new life and power.

Reasonp than, cannot bring knowledge of God, but ace knowledge

of Ilia can bo gained by examination of Creation. Again, we can

perhaps sees here an apparently Biblical source, Job xis, 71

: tinirum interroga juaenta, at dooebunt te; at volatilia cusli, at indiocbunt tibi. ioquere terrae, et responlebit tibij at narrabunt pieces marino quie ignorat quod ounia äaec manus Doaini fecerit?

viedoa xili, 1 aar 4-51

Yani autos aunt osnes hoaines in quibus non subest saientia Dail at do lila quas videntur bona Lion potuerunt intelligere sus qui eat, neue uperibus attenientes agneverunt quis esset ortifex; ... , Aut si

1. W. 0. Ross $ K1d___ dlg g aillsh " 22.223. 2. . 1. P. J. Furnivall, 2.2-211a, D" IN

150.

virtutez of opera eorum mirati aunt, intelligant ab 1111s quoniam qui haeo feoit fortior oat allies a magnitudine enia special at creaturae cognoacibiliter potent creator horum videri.

Ste Paul echoes thie in Romane It 20*

Inviaibilia enim ipalua, a creature mundi, per ea quas facts aunt, intellects, concpiciuntur; eempiterna quoque clue virtue et diuinitae

Petrus Lombardus comments on 8t. Pauls

Et attendite quoll sits Ipsa invisibili® intellects per ea quas recta aunts quia per coelum of terrain et alias creaturae, quas i=enaas et perpetuas ease intellexerunt ipaan conditorea incomparabilem, immenaum, astern= mente conapexeruntl

So aigbt also note Psalm xvili, 1: "Cuoli enn$runt gloric Doi,

et opera a=u= eiua annunciat firmumentud; howeYer the co nentatora.

at least until the time of Potrue Lombardue, tendod to take this

allegorical2y. 2 But the idea expressed in the first three paseagea

Quoted was w1dea; re&i In *odin al commentary, particularly in the

concept of the two revelations " Coripture and creation. 3 It

influenced literature too: I quote at length the preface to Uayno de

Uaynori's Li_r. 1 Cronturnmg wh1ch Is of particular interest:

1. Cgllect=68 1-0 Q Psv AMR&RIL F stolas! In 8 stole 14 xoSanos, cxc , col. 13279

2. Caesiodoruej AMU12 pPea1te , pit lxx, co]. 138, interpreter CROW as the stars gu ding the Usgi and os the prophets; Bede, Peal Lr, xoiii. cols. 579-80, at the prophets; it. August ne, e nýI

et 71 In jIgg

I' U lb xxxvi, cola. 15än4L lti ,

an the avenEe sts w the saints; Petrus T. Ombardus, Co&Mnttr1u& in? aalagj, E. L. cxai, cols. 206-7, as the apostles.

3. Henri I& g

de Lubas expoun4s this at length in Fxdr. e. i VR1$t » t i" Lt 0,1 (Aubier, Collection fi ogie

XUO 'aria, 39 9" pt" , pp" 121 if.. Bee also Dell* Robertson Jr., A

__Preface to Chrt cer, Qp* cit. , p. 296.

151.

%uoniam elcut testatur Ysidorus in iibro do sut :o Bono, libro prino ccpite quarto dicena, quoa as pulchritudine circus ecrlptae naturee ostendit noble deua pulchritudials euae partea aliquas. Qui clrcunaorlbl nequit at intellegi, ut ipois eisden Testigiis homo raTertatur ad daunt quibus avenue eat a Deo, at qul per saorea pulciiritudinie creaturae a creatonle forma so abstulit, rursue per creaturce decorem ad creatorle sui pulchrltudinem revertatur. Quas quldea creaturae etsi noble, alcut liDer late tingit, dyaleoticae rope formats, non loquantur, inolinatione tarnen at naturalis inatitutionie proprietate nos docere nostroe2ue mores corrigere, al bone ponsa us, non deairrsnt. Quod illud gloriosus lusen doctorua sanatus Augustinus optiere intellegebat cum dicebatt o domino deut, canes creatural tuao, quas toolati, ad cc claimant at claaare non desinunt, ut to solua dcrf creatorem neun super omnia di: lgva ...

The description of the objects is the natural world shows uo

further exaaples of the poet's recreation of form and image. But

first two points should be noted concerning the first part of the

list: firstly, the order in which the objects are described is

that of Creations the flowers (Genesis i, 11-12), the firmament

(Genesis i, 14 - the ease words firmarentumt is used in Henryoon

and in Genesis), the fish end the birds (Genesis It 2U), in ende

in Ood's : zage with all things subject to him (Genesis 1,26 ft. s

... Faciaruo fio=inen cd irag1ncm, at "lailitudinest noatraaj et praesit plaeibus saris, et volatilibuo oaeli, et beatlia unirersaeQue terrac, oanique reptili, quo4 a+ouetur in terra. Lt crenylt Deus rominen ad 1iaginei atlas ...

04. J. Th. Grasau, ODcolt., p. 127. 2. ý. U. 0. Ross. V1aGl, e Engligh ßoß, ot_cit_, p. 313.

152.

Once again we fined that Eicnryson'e so-called 'personal obeervatlon'

has been ina? ircd by a literary source. The second point to note

is tha wphaaio on the tact that they reveal Gods

Thao distribute the gift of his godhead (35) Till understand it is anuch I wie Trat god in all his "arjcis rittie is (41-2 Be thir we knave that god is fair and rude

(42)

Those lines cone - emphatically - at the and of three eucceasive

etanzas. Now normally in fenryson' e poetry - in cediaval pootr. 7 -

the things of this world are seen as things distracting man from

God, beooaing false Sods; here they are His revelation. And this

is how they should be when viewed'in their proper perspectives

thej a. re Food unless aieUSed. In this connection the use of

hasse 1a most intereatingt

Exesple takte be thir lohe flouris Pycht avelt oft stell and plesand of colouris g grene g. blew sum purpure qu1 yto und ride (32-4)

The t o= ... sum ... suit' rhetorical device (used several tiaee

In this table; we have seen it oleo in Te LXo n rind the Vous)

en; hzSisea both number and rnrietys the lunaensity of ßod'e creation.

ao have seen before this image used to remind us or the fading

Pleasures of this world (the white and red tlowera. for instance

in Te Lyon &a. 4 the 112uo); Henryson has not stereotyped his imaGe.

hoieTerj and the contrast in usage adds to the meaning: when the

things of this world are used properly, they are good; when uoed

orongl, r they # because they have been trusted, been wvrshipped#

lead to distress and destruction. The order, the fitness, and

the iaaensity of creation are stressed: the stars are 'clear' (36);

er4r7 planet 1a In its 'rpj aphera' (38) j there are 'ems »nd'

of anizals.

153"

The foulia fair eo forcelye thor fled Cchcddand the air with pennia Erito and aaoll (45-6)

In the description of the neacons which follows we have oevoral

of the eaze e=phaseat we note the order for instancesI summer -

autusn - winter - oprinb. Thio to tho order when tho eeaoono,

the world, are looked upon in their proper perapeotive; tho order

In the rnnlo itself is however different - the more conventional

cyrir ;- cutzer - autuan - winter, with the worst aid, coat

disastrous season last - the season in which the birds are killcd.

This latter la tho fatal order when man puts his truot in tho

throes of this world# not taking they for their truo purpoao.

it© passes, natural things change (tho pageant of tho coanono)

but when looked at in their proper porcpoctivo this chance (the

natural order) is not dicactrous; chon they are truotod the chango

proves disastrous (girding in Ginter engt death) - an unnatural order.

UUenryson us©o his typical coana of ctreco: alliteration, intcnsiiying

cdvorbs (note hero 'over, o' ):

The c=cr with hic Iolye mantill Crone With £louris fair furrit on everyc tent Cuhi1Y Mora 6odäes of evcrye llouria Quene Res to that .

Lord as for his eeasoun lent And phcbus with owdin boames gent Has urfillit azdaintit_plesandlie With-heat and moisture etllland Sra the sky. (57-63)

I shall ozaaino the function of the gods later; but we notice that

in the description of June in The WA the _ (2.2), and in

the setting of the court in The Fox tried before the Lvone (1.71)

Phoobus is nentioneds in this latter too, green and gold are

s; acifically mentioned. In the doccription of autumn the emphasis

1. Cr. Denton Fox, 'Henryson's'nb, leis', 92, cl%.. D2.350 and 352"

ice.

is again on pleasure: the abundance of 'wynie wicht cad liccour

of pleasnincce' (68), again e. phaals is given by alliteration

('Hir barnia benit has with abundance, 65)" But the wintor

destroy* all pleasure:

ß ne mentor rin quhen austaue Eolue God oft the rind with ,

b) astie pricll The Erane

. garmont or ay=er glöriou$

Has all torent and reYin In pOICOS U4&11 The courts fair

, aidit with Pý Ot mo st Pall And birdla klyth changais Chair notis ssolt Intill murning near alane with anaw and alelt (71-7)

Alliteration ('grene garnont, glorious' ... 'rent and revin'),

emphatic adjectives and adverbs (ilk to rent; peioes email

emphasize the picture of destruction; joy is turned into mourning;

and the birds (a hint of the table to follow) suffer. Again

comparison with other poems by Henryaon is intereetingt The

Testament of Cresseld portrays the effect of the north wind

(stanza 3); in The Do ge 8cheipd the Wo1rf the portrayal is

very similars

blttlrly withAfrawart frostle thesflourle dour can faid (143-4)

There are two stanzas devoted to the terrors of winter, one only

to nach of the other aeasonst we may perhaps interpret this as

a warning against the transitoriness of earthly beauty which is

&ads to help mang not to be worshipped by hiss

Baith hill and holt hehlt with froetie hair And kewie Done are bßthit kare of bis

" Be iiokit ll ndie of the vjlntare ! pir lpyild beletia than fra the bentie bair fraeis

for d cid rnto thair &nn3a $aiD £puchand for cauld in movie thane to Y OP (78-84)

The erphasis is on euftering ('bare or bias'; 'dreld'; 'wair';

'couchand for cauld') aM the immensity of that suffering ('baith ...

amid #all'). These two stanzas have led to some misguided criticism.

155"

ßpeiro speaks of the= as 'the sudden assertion of the poet'o

locality ... the actuality of thin points forward to the Gcottieh

winter of the E}; olo uo to Book VII of Douglas' Ae__nei1'. l To

®1tt1g the descriptions:

of winter (11.1692 it. ) snd spring (Il. 1706 it. ) are based on genuine obeorvntion of the Lowlcnd scene. The bleak picture of winter, with the wild Hauale (11.1703 tr. ) creeping together for rarath }In sheltered places, is wonderfully auggestiro=

By contrast Pauline . Knight writeet

In other panaagen where Henrycon uses regular alliteration, it is obvious that he uses it beoanee of its association with a strong and onomatopoetic traditional vocabulary [lines 213-4, also winter description are than quoted]. This to also the source from which Gavin Douglas was lator to draw the forcetulnooo of his winter description to the prologue to the seventh book of the Aeneid, cmd which se part or a tradition stretching back to the famous natural deceriptione in eich poeya as Sir Onvnin aM4 -She

preen Knight. The strongly traditional character of euch paasagoe in fienryoon to indicated by the sudden regularity and oonsis- toncy of the alliteration, each line having at least three alliterating stressed ayllables. 3

0" partiauiar passage of Qir clam ar d_p4�ßrwa st comes to

mind:

ta hasel and )v haiporne war* harled al "&aan ith rose rased ecosoo roylcd e rwhere,

With oon, I br7dd03 vnbly}a Ypon bare txygaa, pat pitoaly per pipcd for pyno of pe colde (744-8)4

There lo little 'personal observction' In Henryßon's Sinter

descriptions; nor in hi® Coscription of springt

1. Arcot 1ternrZ : El: oät2i, QP, P. too. 2. The Scottish Trdi ion in LiterctvrQ, opt 21t., p. 37. ý. The Alliterstive Tr; id on in xedlwel root i Petry

QD. o1 .p Pp. 1? o. 4* od. J. R. R. Tolkela a= w. V. adrdoa (Oxford# 1925).

156.

yne cusle wr Quhen winter is Pway The Locretaro of uomer with his aciil cnhen columbie vp kikia throw the slay Quhilk fielt was before with oetis fehl The jiavles and the Merle beginnia to aeele The lark on ipft with uthir birdio anale Than gatie iurth fro carne on awn and chile (85-91)

Everything boo changedi 'eyna' (rhetorically this follows the

's ne' introducing the previous two secSona)j 'nvny'j 'before']

'beginnis'j 'drawls tur'th'. The 'mavisa' and the 'aerie' were in the description of June in Theron a! A The L pue (1.18)9 The

anvlop the ¢erlc and the lark aoro the only three birds mentioned

in the spring setting of Ihr;, Fox tryegb tore the yone (1.76)

Bot penne re weder of pe worldo wyth wynter hit prepe3 Coldo olenCe3 adoun, oloude3 vplyften, Cebyre ochede; Pe rayn in cchowre, ful warme, Fallei upon rayre flat, tlowrez per eohowen, Dope grounde3 and Pe greueg Crone or her wedcs, Brydde3 busken to bylde, and bronlvch eyngen For solace of Pe cofto eoner at sues peratter (504-10)

In our poem the description serves a double purpose: it is the

culmination of the seasons when they are seen in true perspective.

It is also, we should note, the typical spring introduction to a

poem of worldly things and Fortune. Once again we see fenryson

using his imsrery creatively. The use of classical gods is also

interesting in this connections elsewhere in Henryson they are

used to suggest a pagan aateriallatic culture= In the introduction

to Tit �e 4£ Cre: sq, the narrator - blinded, like Cresseid,

by this world - speaks of Phoebus and Venus; in TJ2 E03 SM &I"It

alt, the Fox's blindness is shown by reference to Thetes, Phoebus

and Hesperus; again, Phoebus is introduced in the spring setting of

The Fog IrYgA-beforo the Iyyone.

1. She whole description to, or courno, conventional as I have shown in my discussion of these poe*e.

157.

The introduction to the fable, then an addition by the poet,

tr=ediatoly places the fable in a different class of pootryy from

Ito originala by s2: owIng it to be a ro]lgloue poca. It shore

(by use of conventional thought and image, Imagoes, hoievor, that

have often been given additional meaning by the way in which the the any in which man should coo hiacelr

poet has used tho )/conplotoly ignorant compared to God. when

he realizes this the things of this world shorn themselves as

revelation of ßod= if however, when he trusts in his own 'dark

ressounis', thoy take the place of God, are worshipped in His

stead, an it were, they become destructive (cf. 11.296-3371).

The true wry has been stated, the false will be shorn in the fable

itself when the lenorrnt birds claim to know better than God (His

wore is preached by the swallow) and suffer the consequences.

The fable beginn with anothor addition by the pout of n

conventional tom the chanson d'aventuro lotting with the

narrator wandering out into the spring fields, the comßntional

opening for a poen dealing with worldliness; with false valuosj

core specifically, it is tho' conventional opening for the rhetorical

debate form - and auch IIenryson sakes the first dispute between

the ßtallow and the Lark. I have examined the common opening for 1 this for= in r7 discussion of The ReesoninA ßetu x reg Md Yowth

_ thg ceTeral parallels will be found therej that of Thal end

Y1cht n^ale2 In perhaps of particular interest to uss

Ich wen in one euere dale In one supe digele hale Iherde ich holde grete tale An Hui* aad one Ni; tingale (1-1&)

1. np" 334.5. 2. ot. 8.4. Stanley (London and Edinburgh# 1964).

158.

The narrator's position in the poem Is eQuivoeals he aeons

overwhelmed by spring (another ezample of the 'blind' narrator

we so often find in tlcarycon) as wan tho narrator in The ! son 04

the Woujj be has Cono to see 'the flouris spring' (94) like the

narrator in Chnncer'e -ueto the In

--Or G024 Namen. But

hie Joy In the natural world may be is propcr perspective - he

also insists on his joy at seeing the corn sown, a acene which,

It seems to r-e' has olleEorical conning. The narrator lookeds

To £ tho jty11 tbct vas right }ieasonabls Cajpio und to re=awo allidio heblo (97-8)

The hard work of the labourers is etrezoed: 'the bcaynace' (100);

they laboured ' at ov in L= morn' (105)

Gus makand diko er. d cum the pleucb can vynt sus aawLnd ie11s tact fra _lace to 21ao0 (201-2)1

The reeron for the buc'neec (at least of thocs who sow the linen

teed), is explained in tho mcralitao (i2.278-80). The some

re*tnds us of that at the opening of Pier. P1owir rs

A falro Felde ful of Folk© forme I there bytwene Soze putten hem to pe plow played ful geld In setting and in cowing stonken ful Karde

And dust as t ere is en nlleEoricul meaning in Eiere P121wilp Ic

eure there is one in our poems in the aorc1itac tho author interprets

the linen eoed as sin cowed in the henrtj the corn Is the word of

God tae in the Parablo of the Coyer: ot" Ratthsaz ziii) or perhaps

good decdc. But the birds know so little of the corn that later

they will r1ataro the chart for it (225-6)" The narrators rejoicing

1. It is interesting to note that the only discussion by Gteorns of : he 'Ovallow uA Other Dinla concerns 'realistic' dateils the no-wing and the treatment of the flit (pp. 11 and 38-9).

2. B text ProloEue, 11.17 and 20-1= 1bg Y Vlel! 2n 2C W_11l1M Co "1 r1Rr the P12 ýºn , ode tl. w. Llkcs (Oxford, 1t96 -

qQ 1 repr nt . pp. 2 and

159.

In the lendsceg" stands under 'a hawthorns grans' (108; 160).

The narrator in ' h© Lyon and the L' vs icy in the shadow of 'an

awthorne crone' (23).

The tone or the b`eallow'e warning is sermon like ('It is

grits wiedon ... ' 118jt

0 ye birdie on bowie here me by Ye sail well knaw and wyleely Yndirattnd Quhair danger Is and perell eppeirand lt Is trite wisdom to pro. dye before It to devoid or dredo it hurt yow more (llg-9j

She quotas a Latin proverb (133) az4 Quotes the advice of learned

men (for clerkia ec 1o ... 131+). 1 This type of argument - giving

support and eoyhasio to one's own argument - Is a charaoterlotio 2

of the debate forn. It is also used by the Lark (lines 141-63).

It la noticeable hovever that she ucee the more homely, rural

proverb of natural reason# rather than the authority used by the

Gallon - aaalcind'a trust is its own reason instead of that of

God perhaps. The Ciallo. argues for foresight (134-t0); she

inniat" too on the shortness of time for which the present happinecs

will lcets the weed will grow 'in lytill Lyme of dodo' (124).

But the other birde laugh at the preacher (120,142P 147),

despising 'hir hailer document' (148).

In the hirallos'a second warning ma W of the samc characteristics

can be sent

TM finallos suytt put turth a piteous pryme Cold soss him on rocht be war is toe

1. In 1.134 'nocht' to required before 'sufficient' to complete the sense; It is found in all other early versions.

2. For the use of proverbs in the debate form see £. ß. Stanle7 ed. , jb2 2Z1 IM She Ne, on, olt. 9 D9.33'4. On the use of proveros and other forms of ardent in thin extract see also Denton pox. 'tienryson' a rb ', oD , DD. 351-2.

3. ßoo the list of proverbo in Orogory Cm1th'o gloooary, Loam , OT )a i. 146-7.

160.

0bri birdl© cad full of negligence Ungyndttill of your proaperitio

Cast up your cjcht and tak quid aduertence ... (167-71)

The 'woe is' is, of course, a coon Biblical construction' and

preaching formula= we have already seen the significance of 'blind'

(contrasted with 'gycht') - blinded by the things of this world to

their sinful state in which they trust their own reason. On this

occasion the birds do not only neglect the Swallow's warning but

actually plan to use and enjoy the linen seed (to 'auk we feyat

and fill we of the seid', 1610: they not only neglect sin but

positively snjvi its

Proceding fi'urth be fee and consuetude Cyn rypie and echame In sett on eyde (288-9).

The Swallow threatens the aa it of the churl (109)s a reference

of course to the fires of hell. The subtlety of the fowler (the

Devil) is atreaced: ho is ' cawtolouo and J= of cubteltye'

(191). So 'God kelp me fra him and the hellte rude' (196) !oa

Fruyer of eternal oirnificance:

Thir small birdie hcifcM bot litill thocht Off perrell that stacht fall be aventoure The counsalo of the swallow sett at nocht (197-9)

ee note 'small' birds and remember tho clause 'And tinnnie snule

is febill and oeir small' (23). They hagre blindly trusted

themselves and their ein - thus they are at the mercy of Fortune.

(cventoure 198). All these details - contributing to the expression

of the theme of the poem - are, of course, additions by Iienryson.

A further odditlon - and one which has been noticed often -

Is the detailed deaoriptioa of the preparation az4 ßpinning or the

1. Cf., for ez mple, Luka f1,24-6.

161.

flax. It performs the function I discussed in writing on Tjjj

.!! . ri! ' contemporary detail makes the story and its these more

relevant to its reaaders/hearers. But this craft is not specifically

Coottish, as aittig would have us believe: I Gregory Smith pointed

out the widespread existence of the terns used. 2 Again - rnothcr

addition - Rearyson stresses the horrors of finterj the same

objects, ths aase destruction are emphasised= and the methods of

es basis are elailar "to those in the earlier descri; t ion Cf winter ; 11.7. - L ,;

The unter can the Xlckit wind can blew The wvpcidio grene _ar wßlowit with the it B&yth lrth and Uell with , roetia war maid aw Qlon i-s end alah said alidderie with the Qlo t The soulia, Lair fror

, p1t that t tell of £pit

Qnhen b*wia bair it was na -ute to byde Bot merit on in jgus thane to jLyde (211-? )

The Yowler sets the nets 'with diligence' (222) for 'thir otI1

birdie' (223)1 again, as at lines 109,182,197. the emphasis is

on their ssallneas for reasons we have already discussed. Once

Bore, tbo birds look of foresight is stressed (227-8).

The Cvallot&s third specch - another addition by 1lenryson an

we have ce"n - has the same oharacteriatios as Its previous two

e; occhs as

theft OCIt fful; is he puttis in danger tile f" his honour for a thing of nocht

will rocht glaidlie heir uns s In t7m* q ll it availl h1R naht

na thing hes is thocht bot ng present cna eft1r quhat may fall Nor of the end has na semoriall (239-45)"

It is perhaps north reorlling here verses like Proverbs i, 71

1. Th. oottlah Tradition in l. iteraturee ot'. Site p. 41. 210 Fümit ait.. 1,27'89 note to 11.1817-23.

162.

'visor Doaini principiua eapientiae. IIapientian atque doctrinci

stulti despiclunt'" And Proverbs xii, 15= 'Via atulti recta in

*cull ejuas qui cutem sapiens eat, audit consills'. And scr=n

aaterialt

Dreddea am ran haue so gret delectacion in they cyrnne that nothur for the dred of the peynes of hell, nothur for drede of loose of haven, nothur for shame and untendnes aneynat God thei cease not to synae. And trewely this is a gret Marvell 9oo Bot void God of is good grace that ouch pepull void take hede to a shorts word of Ueynt Oresore, the wiche word, thoEl it be aborts in language it owes euer to abyde in remenbraunce. The words is this 'Uo=entaneum eat Quoll delectat, sod eat sternum quoll cruciat. ' JIe eals the delite cif e is shorts and litall while abldyaV, but the puyrn dew thorfore nbideth foreuor. Now trewly he that for the lust of the moment will lea is souls foreaer, he is not vurthy to bore the name of a reaonable creature, for he is ýurned into a betat by is beatyoll condicioun.

The post stresses the sorrow# the dltterent types of death and the

number of those who suffers

Alaro lt was acht sue: to hertle sair to se© That LbJu4yo 3?

-ouchure it thai birdie down

And for to heir Quhen thai riet weilt to doe Their cirfull oang and Lamentatioun

with ane starre he etraik to and in noun* olle the held ott &Aj he brak the orai&

§�ya halt on lyxe be atappit in hie bag (253-9)

, the Cwallow too is sorrowful ('flow ar thaj deld and wo is ©e

thairtorop'265)t another addition by the post.

Once again then we have seen üenryson adapting hio oourco

aarkecll7 - eddiag now force (the chanson d' oyenture, the deb ate #

the preaching), expanding the tale ('realistic' detail), omitting

1.0.0. Ross, ddle tnr_11sh be e, oD. _eit- p p. 275.

163.

an incident that does not suit hic purpoco (the swallow does not

live with the Fowler). In hie hando the fable bocomoo ooWething

quite different - something, as wo have co often noticed, of auch

elder application. And this is to be seen in the interpretation

he has given to the moralitus. Hie work is taken fron that of

'a clerk' (276), like the Swallows. The 'reacoun' (272) hero

is precri b1 in accordance with üod'o; not the 'dirk roooounio'

of mortal aAa.

Uenryson interprets the Fowler as the devil, the not ßo being

as of oinso we have seen sorething of thin in Brorgard but it

In not necessary to postulate that as a source for it woo a comron

concept, though one not introduced before Henryoon to the litorary

fable fora, &ml bringing with it now implications to that force

A somcahat siailar interpretation of the not in Implied In

aha o�e Lim sýj $ EoAs The Rox_ the ol ; cýth2 Ii banmr M

(214-5). The Bible and Biblical commentary provide Ito ultimata

source. I Timothy iii, 7: 'Oportet gutem ilium at teatinoniun

Aabero bonua ab ila qui torts aunt, ut non In opprobrium inaidat

at in 1njueus dioboli'. I Timothy vi, 9t 'Ilan qul volunt divitoa

flora incidunt intentctionen at in laruem diaboll9 of doaidorin

cults inutilia at nocuia, quas aergunt homineo in intoritun of

perdltlonea'. II Tiaoty lit 26* let reelpiacant a diaboli

laqueleo a cuo captiri tenentur ad ipnius roluntato&. iirabnnue

Uauruss

Laqusus sat suggestlo, ut in PsaLias "Ipse liberavit co do laueo venatoris, " id eat, do suggeatione dae oonua tentantiun. Per jgauc s, deceptiones, ut in Paalmia "Pluet super peccatorea lazuooe, " 1d eat, ottundet super impioa dooeptioneal

1. ý1 _eý-oriýý in z: rcrnn . -, criotu rm, ELij czii, pol. 982.

164.

Bede on Posh xxx, 4t (Educes ze de laqueo boo; Quo= abscotuierunt

Quilt juoniaz tu on protector neus):

tonutriee ae, inquLa, of enutriendo ýi*ýý ý, ia. est, ezpedles me do lnnueo illo, quas roaconderunt, in est, udaconse paraTerunt cibl diaoolus at ßiniatri ejus. Laqueua vocat aeceptionem omnem at inaicilos diaboli, in quo loqueo parat nouio at occultat auj iLplicrnanta, orrorem ec111cet et tcrroren

Bede on Peals zo, 3 (`uonlca 1985 UUberoult me do ]. c ueo venantlum,

ea ferbo aspero) t

... de o�yenantiui& at ab insidi1a at dooeptlonibus dia0o11 at cuorum. Venantes vel venatorea aunt aiaboll3 qula alle arten bioent nocenii, quibus oeducunt niaoras anima 111orun qui de se praea=unt, flea in Doaino sperm euam ponuntt qui alto eat at illecebra capiuntur, at t1more rratuntur. H! venatorea, Id eat, diaboll laqueos at pedicus ßaas tendunt noa in via, cad juxta viaz, ut e, quis a via exorbitaverit, illa4ustur-

There area several interesting commentaries on Job xviii, 8-10 which

rs ec1 st

0Iais1t enim in retes pedes suos, at in maculls elus ambulat. " Tenebitur planta illlus lalueo, et exardescet contra eum situ. Abscondita eat in terra pedioa eius, at decI ula illius super eewitca.

Ute Jerome:

auculurua o cuo1 volens iapeditur.

Just inevitablle Qu1slue exucre,

atLue implicatur

Is noraino atquo maluni significaturs Ipso con=ins ut corruat.

1. gyp,., Ps. laoru. a M EM Bzege , rjý, zaiii, co]. 631. We 1b_ id_, col. 971.

165.

en b! u tan a12uau xa es contra e 1t Laqueus

o pse abo uc non absurrlo o©ntitur, quia a3 cupplnntandum calcansum, poocatoroo obeervat, at apse nihiloainus eitle rosin appellaturj co quoä velut in a 1quo bono asstuana sitiat honinea mortem.

valntridua Strabuss

Vors 8. "Iumiait enim in rote" (Ibid. ). Qul pedes in rate mittit, non cum voluerit oJicit. Bic qui in peccatis so deficit, non mox tuns voluerit, ourgit "St in maculia ejus czbulat. " (Ibid. ). Gui in saaculia ratio aabulat, gressue euoa e . bulando iapl1cats et cum ce ex lire ad anbulnndum nitltur, ne cmbulet obligatur.

Vera 9. "Tenebitur plants 111lua" etc. Quid videlicet atr3. ngotur finis in pecoato "Et exardescot contra eua". Quid quo ©e =lia obligat= ponzat, eo do cuo reditu deaperatj at ipaa desperitione acriu© ad hujua Nandi concupiocentiaa aeatuat. 2

papa rtua:

Vers 91 "Tenebitur planta lUius lc,, ueo", videlicet quia ©tringitur rifle

m in ; eccato, junta illud: "Poccatua V00 j conaumaatum ruerit, genormt mortem" l cujus, subaudi peccati, consu=atio per plantar, quas finis corporis eat, exprinitur. Planta ergo laqueo tenetur, dum peccatum cans= stun non facile evaditur, quis vitiosa consuetudine tonstur peocator dun ettugere oonstur. Undo at sequitur, "et esardescet", subaudi, per ipsam obligationeaa, "oontrs tue sitlaw, Id sat, diabolus, qui sitit ut bibat Sorten peacatoris vol its "e. xardescat contra surr sitia", id eat, ox consuetudine pecasti magi© as raagis scoondltur desiderium peoostoris, Yldelloet#

1. Q=Itntarit to Libre i, gur. -. zzvi, col. 663. 2. Glossa Qrilnari*. Liber Job,, 24Ly cxi11, ool. 805.

166.

auia delectationem eitit, quearia morteo cotuat quas popita oat eecue introltum Celectationlu.

The clause 'ex concuotudine peccati cagie no magic ooconditur

aeei1erium pecoatorio' is of particular intoroct for our poem

An carnall lust growio ill Crane aW guy Throe consustude hsntit Ern dr*Y to 4&i Proceding Furth be Vge and oncu udn gya rrp1a sad schazo is at on syne 286-9)

aenrrson'a U ought in these linos and in the lines Immediately

azrrounding (11.281-301) In not nes, 2 and any of the phraaeo in

which it In ezproossd are comzon in his work - so I shall show

shortly. But well worthy of comment (and characteristic of his

cetto4 of creation through fusion) is the way In which it is fitted

perfectly to the Imagery or growth in the tale. Rather similar

use Is onde of the chaff - another alewent of the original fable.

Tho birds are blinded to such an extent that they mistake it for

corn, the valueless for the life giving, that which seems (291) to

oe goo-i for that which In. the transitory for the eternal.

Co=onplaces expressed in now context take on new life.

i. fýjnor Job C :. nºca nri_ 1, clxviil, col. 1040. The idea can be rouna in aeiv places; I cite a very few; lielinanºlus srlgidi L'ontia, Cormo XXYý ELL :L ccxii, cols. 669-90; tiumbortuo av Ro: zaris, r la gAe, od. U. do It Higne (Maxima Bi otheca Vaterur Yatrum at Antiquorum Ccriptorum tccleslcisticorun XXV, pp. 567-653, Lyon 1677), PP* 592 At 604 13 and er lla°lsio o, pars eeptimas do tirºore, pericu oruajL-A ebj1n mwlorum 8cundua n11 AI ortet , ed. welter,

. *22 cit 1 p. 25. Dan M chel s enbf e oi' In tg ade, a. Yorria s. S. 2. S. 0.6.23,1$66), .2; Lromysrn, Uuma El &% t1uns 0- 1.0 vii (Ornstus), 7f +(1.0. Ross, 9144 Q

c$ e* -, c, p. 2121 ßeo aloo D. O. Koonce, betun te o" er , Medlayal "' , xxi (1959), 176-84, and Dole Robert a Jr. ,Af Lgetage-to au ova ! pp. 914.5. Cr. s. loo Denton Pox, cnryaon so(. , p. 355 it. where he points out that Hrabanie L urns states OW-swallow to be o figure for 'assiduitan orationie' (ELL, cxii, cob. 954)"

2. Prefnco to Ch' ue, off, pp. 65 fr..

167"

The for social position of the fowler is stressed!

Shia carll and bond of gentrico spoliate &atazd this calf thir mall birdio to slay (274-5)

His fall ('spoliato'I) io enphaoizod further in live© 276-7" Once

again we see the c*phaole on the snalinese, the 1nsignificanco and

weakness of the birds. We saw in the commentaries emphasis on

the devil's thirst for man's damnation; I tried to bring this

out in y analrºais of the fable itself= and tha aoralitaes interprots

It dlrectlrt

Cuhilk day and nycht nevir verve to Eck navand poyaoun and uo e wickit thocht (278-9)

... our wickit ennesye Quhilk alepia nocht bot evir is red1yo (305-6)

Once again we must note the similarity b©twoan the vocabulary

ran tho tress of the passage under discussion (especially lino

281-301) and that of other works by Uenryson, particularly O uo

and nullaice. There man le odvleedt

That he baimart cast nocht his myndis so gifard consent end delectatioun, off fleschly lust and for the attectlounj (621-3)

In our poe* the cou1 'ßifau consent in delectetioun' (282), the

chaff is vanity 'ort floschlyo lust' (2914), and 'Reneoun Is blinäit

fits affectioun' (388). In both poems wo have the phrnccst 'thin

carldis vane plesaunce' (603 and 246) and 'value prosperitio' (549

and 626; 294), 2 The phrase 'grease and gay' can also be paralleled

1. Bannatyne reads poltote. which Is meaningleen. Other vereionn r'ppllr spoliate.

2. The reoccurrence of such phraoeo and words as 'this oaridis vane plesance'i 'blir4ina or the spreit', and 'ettectioun' in other portions of Uenryson'e work provides further evidence for the belief that 11.57O«615 or Ort sus ond Euridice, found only in the 8annatyno Ian script, are Uenryson o own.

168.

in IIanrj oon' o work: Jupiter 'his £yi st ul i ay of grene' ("

T4otrWcnt of C rcnse$d 178). To compare with lines 286-9, two

lines rrom The Fox _ :d the ,, olf may be quoted:

Sim bene oleo throw conauetudo and ryte Vincust with carnall consualitie (169-70)

The poes ends in a grayer: again we see the use of a conventional

ro rm:

1em7san then has taken a fable of lizited application and

b7 addition or conventional force, imsgo8 a. ' phrases (which he

has often neod hlzgolf "loewhere) hno node a table of auch wider

oppllcatlon, a religious poem which reflects the attitude to life

omnipresent in his poetrz

-esst is be war in malst prosperitie Ftor in this world thair in no thing lentan3 Is nu man waitt Quhow long his atait will ata. nJ His lyte will lost nor how that he call and ettir his neid nor quhidder he sail wend (318-22)

169.

(1i) The Fox and the Cock

The story of The Pox and the Cook had been sketched several

tired in fable collectional before Henryaon'e telling. tone of

these versions cm be proved to have influenced 2ienryson: the

care aketch of the story they give varies little and in the few

places in "hicb they do differ - the setting and the coralitac -

there le no evident influencee üo shall discuss the Corallten

later; as for aettini, the versions in the lunich Romulus osld

6teinh6eel' e Zjk2k are cot in u town ('villas qusºnism'), that in

the I. 0 Romulus and that or uario de France on a dungheap.

Certainly i: enryuon's fox 'unto the town him groat' (30) , but I

assume the canning of 'tour' to be 'dwelling bouae'p 'farm-house'

as was common in northern usage, `

or perhaps village (cf. 'dropo'

1.15); end although a 'mIdding' le mentioned (the Cookie father

cant tXe Foz 'cote rrs aiddingie to the Luri&, L6), there is no

cvidcnce that the central episode of the fable lo ®et there.

There were two extended versions - that in the Ronan de Rennrt

branche 113 en1 Chaucer's I1-onree Pretg Tee. It will beco: ae

I* Iuaich Romulus, Hervleux, ii, 274-5; mixed Romulus of Berne, , Herrieux, 11,308; I3ß Romulus, Hervieux, lit 598-91 ,s 'we

Lm s ed. Qsterler, op$,. gi,.., j. , p. 196 - cz d, in Caxton's trcns at on, oo. Jacob, : ý, , il, 132-3; Claris de i'rance, ed. `wert and Johnston,

sýL t ,, pp. 41-2j Bromyard, ° aa ed anti ,

1 xi 1 Zuetitla) 28. : here are also sever version related to the atorý but ditfer2ng in eacentialc from its D. U. ý" 27335, role 24 jO, ed. Grasase, ODe 21$t, bk. Ii, cap. 15, pp. 51-2; Caxton wo , ed. Arbors cps , pp" 9-10.

2. C. rithe Locale 2y, cit., It 10, note to 1.418. 3. Roques, 1&-Roahn I& ,22. g, III a, 11.4065-4458; vol. il,

pp. 2&-36e There Is a rather similar episode (Renard advises Ctanteeler to pray, then seises hin is be does so) in Hg1j*4 12 ContT , od. Raynauä and I. esaltre, Q mm , 11.31U6t tr 31b i Vol*

ýp. 90-112.

X70.

obvious that Elenryoon certainly knew and used Chaucer's tole and

ý, _ Ren r_ perb3pa the Ro n when compiling his own* In the R2mnn do

the farm is owned bys

, e" meaolres Coutens des Boos, Uri Yilalne Qul rut iert garnle Uaaolt tout prey dou plaioeatz

14072-4)

Chaucer tells cow the rarrtard was owned by 'A povre wydwe, nc=ioel

stops in nee' (VII 2821) arA Uenr, /son Dao seemingly bean influenced

here for I know of no othor version with this d©tail. 1 It is

probably more coincidence that Kenryoon' o widow earns her food

'with ep7TuVng on hir j: 2kI (16) and that ilallyn ahaaes 'with a

dy-staf in hir hall (33b4). In both Chaucer and Uenryeon the

Cock' a tine-telling abilities are montioned (2853-8; 21). In

all three versions the Cock 'start bckwrard' (39) at the opproach

or the Fox (cf. Vonne" Proeteee T 01Q 3276 ff.; Ro de Reitart

4337 tt, ) though in the PREan he does no because the Fox attempts

to eels* him, In the others through natural tear. be may compere

the tachn. tues of flattery ('schlr'1 'gentil', aelf-deprecation,

use of rsligion# praise of family) and the irony in the Fox's

speeches in both Chaucer and Uenryson"

Chaucars

Gentil sire1 allae: wher vol yc gon? be yo aftr yed of me that am yourc rro©ud? Noes cartes, I were rose than a friend It I to your wolle harm or vileynyo (3284-71 j lord goure fader - God his souls blease. A . -A eck i'oure & coder, of hire gontilloubos Ilan in nyn hous ybeen to shy greet es.; Axt cortex, sires tul fayn woldo I yov p1030 (3295-8)

1. Harvey food however has noted ( �o a ab e, Q2it 01t. 9 p. 229)

1.1049 ot Tbe tNinglo r which reads the vyly fox, the "edovis inea e" consents that this gives evidence that 'the central thcze of this table had passed into proverbial uao'.

171.

Benr3r eon t ßchir be qy saull ye hold nocht be affrald Nor yit for to to drede nor rice abak (40-1) aald I nocht serve yew ear I wer to blame As I have done to yonre progenitouris Your fader oft fulfillit has my was* And Bend no mete fro middingle to the muria (43-6)

The ®laiilaritiaa are very obvious=

of emphasis) I shall discuss later.

the differences (particularly

In the toten Ae R hart, but

not in Chaucer# the Cock ßinga twico as in Uenrycons

lore chants Chanteclor un veref un oil of olous of l'eutre ovort, Car it roracnt cre oit Renurtj Covent ragarao oe: o part, "Cog dit Rennrt, ne fait ncant CDanteolins oüuntoit autromont A un lono trait a jeux olingniez, l'on foist bion dee u. plaiecicz" Chanteclds quids quo voir die' lore Tait aler in celodie (43633-4392)

In Honryson'o pooh too tho Coca is aocuced of not being like his

father (66 fr. ) though there the content cozen before ani attempt

at crowing and between the two efforts the Cock is praised (73 ft. ).

In both the Iionn4 Pree tee Tale and The Fox and the CoV there is

direct, critical cogent by the narrator at the roment of crisis

(3322-3o; 73-80) - the nature of Chaucer's coz: ant I shall discuss

later in dealing with Uonryson'a cºoralitaa. The episode in which

the hens discuss Chantecler, in The Fox And the Cock, is distantly

related, in its revelation of the pretensions of h =ans though their

rhetoric, to the cock-epic effect of the LNonnoyPreeates Tale though

of course details are very diftertnt" Henryson's 'Partlot' (99)

whose name is perhaps adapted from the name 'Pertelote', shows the

courtliness of Chaucer's ben. In Henryson and Chaucer, but in no

other fersions the Fos sake the Cock to come down from the trco to

172.

"hlch it has fled; different pretexts are uoed in Dach poem Ä, owevers

"0 Chauntsoleer, alias: I have to yaw" quoll he, "ydoon trespas In as suche as I maked you aferd "..

... But sire, I dide it in no wikke entente Con doun1 and I shal tells you what I scents (3419-24)

dude chantecler Cum down agnne and I but mete or fee Sal be your man and servand for ane yeir (177-9)

[laving seen what Henryeon han taken from earlier vorsiona of the

story we are c.. in a position to examine hie own version, to see

how he has modified the tale to hie on purpose. Ile aporde two

stanzas rezindin his readers of the philosophical bauia of his

ab lQs 'brutale bestial and 'Irrationale, ... lukking dicaretioun'

snd have &*rely an 'tnclinatioun' (). 4 'A natural diapoaition

towards some kind of action or behavioui1) - perhaps covoral -

according to their kind. These kind* are infinite in number and

therefore the number of characteristics ('inolinatiount) Is infinite:

the poet streasea these latter pointe by his use of a combination of

the inexpreeaibility and the humility topoi (8-11). 1 He will

describe one example only ('A cas I fand quhilk tell this hinder

yeir'2 13). go have boon told oarlicr that can is often like the

beasts: In hint

throw the cuetoaa and the d*yly ryto ß7a in the *ºnd is es fast radicat That he In brutoll heist be traasro mut (p, 1; Q11*g 54-6)

1. Gr. E. R. Curtius gQ Ljj2Ka%Mrg ah cat ULd4je , 02- 911- o PP" 63; lb 9-62j 1407-13, 2. cr, the opensap or Tht ßlvdv fgrh:

This hiatir yelr I hard be told Their was a worthy king.

173"

The infinite number of beasts (men acting as aniealo) lo also

stressed in The Pox trued before the I, Yone (11.50-126). We

MJ'Y recall too tho importance of well-governed reason in OQrghv

rind Kurrdiee and The f'wal lowendd the Othir Birdie. (3o Ilenrycon

has begun by rounding ue, In an cddition, of tho philocophicul

basis of his lable. l In doing so he has given us some idea of

the nature or the protagonists or the story: the 'fox renreit craft s and cantelous' (6) and 'gentill chantealere' (14) -

presusebly, as we realize later 'gentill' of birth or from present

Importance (cf. 'Ott ! pn or good quhllk Ia preauaptuouo'. 196)

rather than gentle in nature. 2

In the next two stanzas Ilenrrson aste the scene of his fable.

CO haYe elreadj seen that this Is to so=e extent modelled on

Chaucer's 11onnes Prej4t4js Tam but there are interesting changes.

Eienryson's widow is made to appear poorer and more dependent on

her Cock and hens than Chaucer's - there is a very similar chance

fron source in The Holt and t) e Qre442r . Chaucer' s widow has two

daughters to help her and other livestock apart from her hens:

Thre large eoees hadde ßhe, and naso, Three kNn, and Oak a aheop that bights delle (2830-1)

1. The above is the meaning I take from two very difficult stanzas - difficult in syntax: the poet says that 'ilkane ... bee aonys diucrs inolinatioun' (3-Z&) yet the ax=, Plea show but one (in the case of the Wolf none) euch 'lnclinatioun'= to what antecedent does 'that'' in 1.8 refer? Anti, to some extent at least, difficult in weaning: are these 'inolinatioun' praiseworthy or evil or neutral? The 'Thoucht ... yit' antithesis seems to lipute some good qualities to the 'lnolinatioun' and 1.7 is scarcely condemnatory yet those illustrated in the fable are surely evil. Perhaps we are to assume that such 'inclinatioun' are neutral In brutale bestir' but evil in men who *Wald not be 'irrationale', who should not be 'la'cking discretioun'.

2. CC. the distinction drawn in Chaucer's ý'r %line Tole and 8'n=a_ ale.

1714.

Hairy son:

And o roi : id: a ce tho Table cab Fxcept ofý acro had a Ioly flok (17-18)

Co this 'joly cok' (19) who kept the hens rag of the utmost

impoManco to the .! doss '$ Zchj curagoous Ynto thia wedow ay' (20)

copccia3.1 os the hens wer© constantly thr©atcnedi a Foxs ('crartyc

rn3 cawrteloua', 24: hie 'inolinatioun' is repeated - of. 1.6)

to this wedoi did iXot2 violence In piking or tir pultry any andct And Q a212 reuengit on iaim acho x ycht (26-8)

The Cock's Lzportance provideo reason for to prido and, perhaps,

turthor izplicd condeanution of Ito prido which divided it rrom

Its proper task.

And CO to the incident itself. The mayor change from Chaucer'o

poem (and also, though to a come' hat leaner extant, from the 3n

de Rte) is the more emphatic position given to the Fox in this

table; for ienz eon' o poem Is concerned with flattery and pride

equally and with their interactions in Chaucer the major emphasis

is given to the Cook as a symbol of human vanity. Thus whereas

in The t: oaee Free toste the Fox's flattering speech takes up

only about one-twentieth of the poem (11.3284-3321), in flenryson'o

poem it takes x nearly a quarter (12.36-77) of the table - and

halt of the moralitas is concerned with condemning flattery.

From the beginning there is emphasis an the Fox's craftiness: we

have seen something of this already in the introductory stanzas=

it is continued. The Fox was wile (29); he was named Ilowrence'

(Chaucer has 'Busself') - probably an extension of Lowrie (lurker,

akulker, croueher))1 he pondered:

1" nth, POSMIt 02*- 211- v1e 10 note to 1.421.

175"

The Iuperteis the w&yis and the wile Be quhat cents ho mycht this cok beglle (34-5)

L.: Aamio 16 brouGht by accumulation of Cynonyms and corroborating

rhyme. So

Disaisuland thud in countenance an chore On knees Poll and cVyland thus he said (36-7)

On several occasions flenryson portrays foxes falling on their knees

before those they ®iah to flatter and deceive. ' The Pox's

technilues of fluttery can oleo be paralleled in other of the

F"blli e. There are five techniques noticeable. Firstly, the

Fox proclaiaed hirselt Chantecler's servant (11.38.42-43,55.

61-3). The last instance (11.61-3) is most interosting with its

a; parent utter cubservience yet a biguityj the 'you' is emphasized

by Its unusual positions

Yow for to serve I raid crepe on my wane In frost a snar in redone wanaý wate

lay eyyart lokkis undir your tote.

Geco idly, Lorrence addressed the Cock as Gchir (40,13* 59).

Thirdly, he hinted at self-deprecation ('rtald I rocht carve yow

car I wer to b1c: e', 43)9 Fourthly# he praised directly; 'gontill

Chcnteclsr' (38);

Z fetherla fair and gent Y breste YX bake air hekill and your case (57-8)

And fifthly he used pseudo-religious oaths (140,59)" As I

mentioned earlier many of these techniques (all Indeed except the

first of those I analysed) are to be found in Th,,, �eos

Pr2oltes

M. 10 There are differences however, differences which, it atoms

1. Ct. Tli Fox pzd jbg 1.58j the Egli, the Wolf and All Crdlr, ', et" 2*

176"

to met eire greater eaphaals to flattery: the first technique (not usod by Chaucer) in perhaps the most important in the ftblej

Henryeoa odds the emphaals brought by alliteration and the

repetition or the possessive pronoun 'yor' j an4 one teahmique

(the use or ' echir') is more extensively used here. It in

noticosbl" too that Lowrance did not straight sway introduce his

desire to hear the Cock sings he ingratiated himself with the

Cock first.

The Cock Va3 obviously ia; rosaed: 'Know trog c7 fader q

the cok arul lcuch' (50) 9 We aoy co-; are The Poxc the yo 1f

1.71 where the Wolf reacted siailarly to praises 'A oilly

lowrsnce q the wolf and leuchl. fonryson coy : ants directly

echoing teras used beforei

This tc. nit fox tale and dissimulate Laid to the cok a cauillatloun (64-5)

Ce have already noticed that Henryson1 s portrayal of the Cook's

tactics in enticing the Cook to sing is closer to that in the

j? cmmn äe R'nert than to that in the J! onne PreeIlea Tall. But

there are differences too. Henryson's Yox made the contraat

between Chentseler und his father before the Cock had sung; then,

otter his first attapt, encouraged his ('ye ar your teclerie zone

and air fp rycht', 74) suggesting means of improvement. So the

Cock was 'inflate with the wind of fall vane gloir' (78) - the

moralitas criticises 'A nice proud man void and vane glorious' (195)9

tienryeon introduces the . idow'a sorrow portraying it by the

terco of literary sorrow used commonly to describe great, aierortunee:

An echo war wog with modre yell and cry Arland hlr hair upoun hir breast can bete Cyne paill of hew half in ans extasye Ffeldoun tor cair in swoning and in errate '(92-5)

art. eo  ay coapare the eorrowo of Eaelye in The_ Kn tn Toile (IA 2817 rte)

and the parody of the convention In TheNonnee Preestes Tole

(il. 3338 Cr. ) where Chaucer describes the hen's reaction to the

loss of Chantecler. fenryson replaces this parody by a dispute

czorg Chanteclor'a three wives# 'Partlot', 'Coppok' and 'Cprostok'r

their nasee seemingly taken from literary tradition. 1 Bird dioputen

1" As ; with pointed out ( r^ c it , i, 10 note to 1.475) the nareo occur in he To eo blknlbie f, e Poe= In the t3annatyno itanueaript quoto Yrora the beTe b. edition, or, i, rrol. iv; the relevant passages are to be found on p. _. The author liste the cocks and hens born rrom tho ek; ge Co elbie purchases a®a gift for hie Codeont

The first wes the namyn chantscleir to luks off quhoca chaucer treitie in to hie buko and his lady partlot Sister and wyfe ... The tuthir bruthir wan clipit cok c&&iazan he tuke to wyfe his fair trey aistir toppok look crawdoun was the thrill and hic w7fo coppok (Pt. III,

99-105) Baaaatyne rends 'Coppok' other early versions 'äop, pok'. As good {Pc -n Prb ., or, cit., p. 230 note to 1.403) into out 'Coppok as the 'support of alliteration' (in 1.14) GW Is closer to the Reyn=llan fora Coppe" However, as ao cce above, both arc aenticne 1 in jh_o1g_o lkglti g -112 - either reading is possible in Uenryson.

.. ' Cok coby the tont az4 aprutok his opca$all (117) Zh* ^jel! t oCk lb1e ! ow has been ascribed to various dates in Z AO aid gnd latter parts of the fifteenth century - for a aid fiftccnth centurj dating see D. Laing, 3e sot Pemaifne of

rev, J. : =11 (i3inburgh L4r on, , pp -5l Professor Denton Fox tells ae that hr. J. Aitken or the Dn the Q£ dates the poem c. 11ý; . rind it spass bo to know It influenced Uenryson'o poem or vice

versa, There is a possibility too that both were drawing independently on a tralitlon or which wo know little - the fact that the three names used by itearyson ocour unevenly dispersed in "' Isle, or i^ý ib1e Zo aiy support such a contention= es ciao, kart oL as on obvious affinity with Chaucer's Pertelote; and* as Diobler first ointed out (tt *'n P bell t"e, pp1 cit., pp"

W'5)" the name

Uprot aus « 1s to be ound In a proeuraor to the Roman 410 f en* d, the twelfth century ,

Ieaný rlaya - Diebler refers to the abri4 ent published by Or an in his Reinh r ftghga OD ! IS** 11.559-4-01 in Lone s couplets edition, QP. ct he re eiant lines are pik. III, 11.17--18.

179"

nov, k=ling the hrd support, she oxpreaaed liar true thoughts

an desires. Thus for it seems to cse, the pout has i led that

the Cock was blind both to his own capabilities and to the true

attitu1ce of others towards his. Coppok's speech is used to

conae= directly: he was 'es loreous and so licherous' (136)s

Prydetull he was and Ioylt of his cyn And cozplit noother of goddio falvour nor faid Bot traiatit ay to rax and as Perth rin (141-3)

Pretentious, proud, self-confident yet easily deceived, the Cock

is a figure (191) oft

A nyce proud an void and vanegloriouo Off kyn or gude quhifk is preeumpteoue Ffy pompous pryd thoi art rycht poysonable Guha fauorin the of force can haue a fall Thy etrenth in rocht thy, stulo etcu4is vnatable (195-9)

The considerable addition to the fable has addod to our kuo'1otgo

of the type of pereaa likely to cuccuab to flattery.

In llata and in the chase Kcnrjoon characteristically uses

alliteration (ire may compare his use in the chase In The volt and

tn 2a� d r) 3

Bar. natyne wsy be correct in reading 'Bprowtok' - then the 'teynyeit fayth' would presumably refer to Oprowtok's pretended allegiance to Chantecler, providing further evidence of Chantecler'i blind pride, for he, it appears, had been duped by her pretence. fluch a reads in, however, a little strained. The Bassandyne reading 'Pertok' (Partlot) seems sore natural (and provides an additional irony) - she had 'feynyeit fayth' to the other hens in pretending to mourn Chanteoler. We have too an exasple of Bannatyne misreading nagen in 1.87 though there the mistake is easily explicable by dittographi. I have provisionally accepted the Baasandyno reading. But I. 128 of Dassan4yne does not wake any real senses Partlot'a (or Gprootok'o) tone is critical; and fron the tenor or her speech it would scarcely appear likely that she would critiois e one who 'In lusts but lute ... sett all his delyte'. The line should presumably refer to Partlot herself - as it does in Bannatyne - sind her speech begin at 1.129. Sty suggested reading for these two lines is this

: han Partlot opak that foynyeit fayth befoir in lusto but luif that sett all hir delyte.

This agrees with Professor Denton I}ox'o sugý., octcd emendation in his forthcowing edition of iienrycon's poems.

1&3.

How birkje burr] s bell balsye broun Rypecchnw ryn weilt courteous cutt anti clyid Togidder all but gruncheing Furth ye glyict (150-2) with that but bcde breädit our the bent As Eyre of flint that our the feildie flaw aichtlyei wle throw aoddie and "atteria went Lnd seisait rocht ser lowrenoe till thay saw (155-8)

The Cock too showed subtlety: he pretended to care about the Fox's

condition (162) snd suggested that the Fox should tell his pursuers

that the two enimnle were tr1endes in other versions the suggestion

is merely that the Fox abuse its pursuers. The narrator comsentst

This Fox thocht he was tale and friuelous And hoe traudis his Quarrellio to defend Discauit was throw czynio marvellous Pfor falaheid failyol© at the latter end (169-72)

ilcnryson uses this proverb elso, hcre: in The Fox* tho colt Qrtä

the C_ dir the Vo1S advised the pox# who sae attempting to caoap©

him: 'Falset will Sailyo ay at the latter end' (47)" Our Fox,

characteristicall # tall on his knees offering again to Carve the

Cook (177)o sut bis flattery did not. succeeds the table ende

with the traditional mutual recriminations (183-7)"2

The soralitatee of earlier tellings of tho ! able have generally

a rather liaited application. The mixed Romulus of Berne reads

cerel z 'Dopet non aultun loqui'. The Munich Roaulus, and the

version in Cteinhö. sle Pabul"e ! xtrayrsca tes, resdsi '010 Multi

boniree, cua salts locuntur1 dampnum non effugiunt'" Castons

'And therfor ouer aoche talkyng letteth and to moohs aroaynßo

=arteth thsrfore keile thy seife fro ouer sang words to the ende

1. A igllable - and a rubject for 'broddit' - is obviously missing here. Dassuz ne cupplias 'that''.

2. The Daescn4ne reading of 1.186 (Cuair throw to put L( pray lu to plaid) seems rhetorically sounder than Bannatyne a paralleling the%; uairthroe' of the Cock's speech (1.184).

181.

that that repentest the not'" The LSO Roauluet 'eon eat exlgua

res suo toapors loqul, at suo toupore rsticere; more enim at

vita in a*nibua 1ingue aunt'. Uarie de grancet

ceo runt ii Polt tut 11 plusur Parolent quant delvent talser Taiseat qusnt 11 deivent parley (36-0)

Bromyards 'Zic call utuo ac decipiunti multaquo loqui! at ticri

suadent at rogant quas ad animaruz portincnt ducaptioncat. � core

Interesting coxparicon can be ado with a vex-.,, ciatantly related

version of the story to be found in the Spec-alum C02jengjg:

'Contras tumcntco ex 3oicntiu: Do gallo at uulpo'. The Cock,

proud in its knowledge of the heuvcne, Moo on to a brunch and

there sings oxultently. A Fox conco to ask why and, having hearrd,

flattere:

quippc gaudco, frator cl, co quod liberaliasima bonitne, quas conditis omnibus partiaipium perfection= auarun gradiatione pulchrlfica, ssundanticsima Fontana diftundit, etiz nobia brutia in aesti*abilia donua aapieatias dedit., 0 galist tu es gloria uoatra, tu an beatiaruza laetitia, to ninc, quaeso, porrige, al dignaris, ut osculer alma intelligentiee caput tu=, Togo, coaple gaudiuo naum: At Silo quidan adulationie dolos1c uolli lingua mollituo etatirr vitalo caput izprovidua on tamellco obtullt, quod avida atringona deorsum aiaerum rapuit at sub; nzlti galls, Balle ubi oat saplentla tua? conceplati sapientlaa, perdldiati pr dents at dedlatl pro nihilo vitas tuna. Cut gallusi quid gloriario in aalitla? At tlla reapon&tts non eat malitia, buniliare superb, =, ael ar3 vera, namque nova, quoll, cum sapientia intiat, naz tuaetactioni rupturs ssacedit.

There is of courco no posaibilSty of intluenso. Chaucer'e i ngg

Froe etts Tel* a� ain provide, the closest parallels it is ß

sonde nation of hu:. nn pratentiouan©so which, though more cubtly

182.

expressed end pcrhapo loss extended in application (as I shall

suggest later), In similar to Elenryson's denunciation of pride.

It contains too, warning against tlatteryt Chantecler beat his

w1trs s

so* So he ravys Alleei ye lordeoh, manyth

his faisrflatoure

Is in your courtee, and many a losengeour That plosen yow wel moore, by my foith, Than he that ooothfastnesse unto yaw seith ... Beth wrr, ye lordee, of hir trecherye (3324-30)

But thin condemnation is of less importance in Te-NonngsPre

WI than the mocking of the Cook's pretentiousness. Henryson

has altered this balance in his poem.

The moralitas can be s; ccifically related to the themes of

Henryson'a other works. For those who trust in themselves, or

in the things of this world (who are 'presumptuous ... off k3rn

or Bude'), those rho'climb vp siost he' (Two t' , 210), who 'in

pryde ... Ilya as hie' (roll and the 1,145)9 will purely fall.

Henrycon emphasises his point by the Implications of his metaphor (flattery is fatally poisonous 197,213 -a fatal disease, 209) and

by heavy alliterations

Fry pompous pryd thow art rycht pogsonable quha tauoris the of foi'ce man haue a fall Thy strenth la rocht thy stule standts instable Talc "itnes of the r'eindis infernall Cuhilk huntit war doun fro the hevinly hallt To hellls hole and to that hidous hous Deoaus of pryd thaj ear presumptuous (197-203)

Notable e=aapleo of the effect of alliteration are to be seen in

11.198 and 200 where the 'f' stresses the inavoldability of the

fall ('of force .. o fall') and carries over to link with an example

1. ©annatyne reads 'all' which Is obviously wrong.

183.

or such a fall; and is 11.201-2 where the 'hevinly hall' is

contrasted with 'hellia bole' and 'hidou© hous'. Line 199 reminds

of the proverb I

used in T he Wolf and the _Wert 'Dewar in wolth,

for hall benkis nr rycht ©lidder' (151i). The thought lo of course

©iblical: for instance Proverbs cri, 18: 'Contritlonem Draecodit

superbie, at Ante rain exaltatur epiritus'. Cersonss

This is the firsts or the Yid dedely synne®, for ye shall rndirstond that pride is a wicked loue of n3ao byghnesse for he holdeth hym not a peyd of the hyEhnesse that God bath ordsynd hyx in, but desireth to be more hyghera than good secure hasketh. And so the synne of pride is like to the ayna, 3 of Lucifers, that is the worate dowell of hell.

The iii manor of teen that broke this Comaund t [i. e* thou shalte not haue non false Coddes ... and that folorith the. feende be tho that set!! * here hertes most on'wordely eorshippe, veynglorie, an highnes on thosselfe. This maner or eorshlppe covetid the feende to haue had of Criat when that he sold haue bade hym to haue tall downs and to haue worshipped gym. And In thin aynne of pride synned Lucifers, the highe angell In haven, when that he thorthe In is berte, Yscys xill j, "In celue ascendam super astra Del; exaltabo sc11ua sous at ero siailis Altissiao - I shall Coy vp to haven, " said Lucifere, "MA I shall enhaunce my-selfe a-boven the aterres of God and be like to hym-solle no hie. " Therefore he fell downs into the deppest patt of hell. And ther-tore "Is Ceynt Gregore in libello Contlictu Viciorum at Virtutuu, 1001 ills Iuoifere per superbiaa de oelo desoendit, quomodo tu superblendo in oelua ascend**? " ... Trust well ther-to, itt will not be. For as scour as God is in haven, the Niere that thou saketh thi-gelte thorore pride, but thou aaend the here be-tyre in this life, thou shalte sons aftur be dope In hello 3

1. Fargusaon Lt3.508; ed. Deverldgep co. cite ,, p. 419 2. «. 0. Roam, M1 d dls dish Ceerrt one, Q2. al, lo pp" 49-50" 3. IbLd. p pp" 107-8f of* also O. R. 0eat.

ya ianºa1 i: nRrlui, c12. is o pp. 43.306-150 700 stag*

1814.

fenryson' e use of the comparison with the Devil perhaps brings

to the pose the suggestion that pride is dangerous not only for

its present consequences but for the afterlife, '

on extension

from Chaucer'e coea.

1. This suCge. tion is perhaps aupporte4 by biblical allocory in which the sox In the devil or evil Spirit© tempting . an to neglect his soul. Hrabanus liaurua, Do I niver, o, Libo viii, cnp. Is

Yulpos anim rzyatice diabolum dolocuza, vel iuroticum c 11tdua, give poccatorem ho inom cignificat. Undo do Qcrole Do sinus ait in Evangelio: It91 Q+, i ! nýlý_ _

111 (1406- xlj _). St alibi: Vu1ýe. intuit,

in vuipious Heere; icon .. o d'a e*ones, ut in pealmo: Qeg raint (Peel. vrouter aon es a on nuts d!

oulpes Cißbolu8

. Ht in Jeremias t (Tree. v. ) Vas col. 225)

Allerorine in Iacrzi ccriptu raa: Vulpee

... Per Yi , pereecutores, ut in libro Judicua. "Ganson tu Des cu* facibus ardentibus feoit disaurr©ro per cats Philistinoruz, " quod Christus nonnunqu= fidelen permittit persecutores bona destruere ispiorus. Per 1ve" spirituc saligni, ut in Psalms: '2r ntar in nsnuc gladii, partea rulpiu* erunt, " id eat, da=abuntur in judicio, "et ibunt in ignes sternuaa, qul prieparatus eat diabolo at angelio ojus. "

(Eal, cxii , co). 1084) Otbar writers interpret almilsrlys u. Nilarius (vuSt&t Ms 113 UIT P laUx' P, Imo, ix, co]. 1406) = 0.1uchorius= vulpea bmrstlaus fei diebolus fal pecoator callidus (Libor foraulýw

ria. pAm_ 1. l col. 752); ý Spiritus

r ýýru pas oar teou ant in oreia ... Its Deli bleut, propter Ralitina vulpeoulae (Sy

, r,,, 1ý , Lib. VII, P. L.

olxviii, col. 1468) also 'ßt. Bernard in hi "Wneb III g¢, Qj LLXIIII-LXII

Imo clxxxiii, cols. 2080

However, such evidence suet be treated very cautiously. Tb, absurdity of applying biblical allegory too rigidly is Illustrated by the tact that the traditional interpretation of 'gallus' Is 'rir Sanctus; ordo doctorua; predicator Sanctus (iirabanus iteurur, jMlemorj n, P-7-cxii, col. 939; Garner of U to Victors, , kLhL cxciii, cola. 73--5). Be* however the application auo an interpretation to TOM K2AMa LM2aj*A 1&12 by Yortiner J. Donovan, 'The MgmIltee of the Nun's r eat e bet'on't Jilt lii (l93), 498-506; and the attack on this by E. Talbot naldson$ Patriotic Exegeciat The Opposition'. CrItleol AaKeLnu Selected Papers fron the tang iah institute, 195&-9 - W. Dorothy nethurum (ilea York arnt London, 19W0), pp. 1-26.

185.

The e=phasls on the clangers of being deceived by flattery

can likewise be paralleled In Uenryson's other work. Linea 209-14

especially provide interesting comparisons. Thg h"ouo nn4 the

Poddock:

It pass tar alkynd of oeatilena a "ickit mynI with eirdi© Lair and silo (136-7)

... Grit tollt' is thairfoir to gife credence our *one to all that epeikia fair to the a silkin tong a haart of crewelte w tin mair soir than ony echot of arrow (11+4-7)

Aanln_ttaisty Credence o! : itlarias

It is the grund of stryf and all distance, aoir perrellua than ouy peetillence, Ana lord In tlatterris to hast pleeance, Or to git lyaris hestely credence (29-32) 0 rickit tong, sa'and diesentioun of tals taillis to tell that will not tyre Hair perrellus than oar tell pusoun, The pane of hell thorn sail hail to 'thi tyre (41-4)

I have horn In air analysis of this poet some of the literary

precedents for auch advice. l

It In perhaps legitI&ate to ask why this change of emphasis

took place. i3teurn ' boa k is based on the assumption that opocific

conte=porm7 events influenced Uenryson9s poetry; le there any ouch

Influence hers? 2 One group of events is perhaps of isportanco.

1. Ct. also - szanple" are numerous , aqr selection In a random one - Yalaob r, tam en n,

a Lwganýh M, , ed. OD. Glt., fol. 171 an mlabol =rring oo. cit., pp. 60 ft. =s PC U

ed. Graeae*# dial. 149, p, p .1-" @ia . 61, pp" 0tß-5, dial. 80, pp. 224-61 dial. 116, pp. 272-4;

e ed. A. Brandeis E. E. 2. ß. 0. E. 115,1900) pp. 149' 50; ucer`a Ear ', Robinson, p. 247 Hocoleve'a

. Furnivallp It-0

stanzas 274 fr 420 ff ..., rr. , 703 fr,. 751 f ..

2. Tk following discussion will take into account the moralitates or o -asiwe l as the poem

der d scussion@ .

tm ae

ell

ra Na ai ar points s and it in as well to confine the discussion or theca Folnts to the one place.

186.

The Nietorte and Cranicles of Scotland of Robert Lindesay of

Pitscottiel are particularly intereating in their aooount of the

career of the architect Cochran:

... ane new courteour start wpe callit Couchren quho had at that tyme great preheminence and autorietie in court, and credence wltht the King and reullit all satteris and actiouais as he plelssit to thane that mad glue him buddis or gear for his 2abouri s.

Quhill at the last, thair grew sie mortall fold withtin the kingis breast towartis his brethcrine that he could on nawayis be contentit to lat his brother leis in peace and rest to haue godlie charatie wicht then as be aught to haue witht his aeia bretharin, bot naikles in bim awin heart condezanit then baitht to death and that be porsautioun of this

, lapis Flatterar Couchrin and the lntyeement of the horse und Hepburnee Quhllk was the fortiftier. ia of Couchrene in that cause be their persuatioun gewin to his great Ciftis of gould and silluer..

It Is worth noting that this action - allegedly caused by Cochran -

Helped to foster that distrust of the king which was later to load

to ASa arrest. In this tyre this Couchrans grew set faailieer "itht bis aaister the kingis grace that nathing was done in court butt by his and all men that ºsld haue had thair bussienes drest witht the kingis grace cose to Couchrin and said his forspeiker for thea and gait him. large sores to drese their bussiena thairthrow and he became so riche and potent, of sic substance that no man might "tryus vltht his. Bot he knawand the kingis natur that he was covatouo vpoun coney and lowed his better that galt hie nor t sy that tuck fro bis for the quhilk cause the said Couchren Calf the king lairge sowses of soney quhair throw he obtenit the Earledom of Mar

1. ed. i. J. ß. KacXaa, 3 vols. (D. r. o. 1899.1899,1911). 2. IkU&o 1,165. 3. "JAL# it 157.

187.

froze the kind and was poasest in the erahn and ever clano heigher and haigher to the court till that he had no pair nor comparieeone of no lord of Saottland apirituall nor teoporall into the tingle tawour. l

... Couahrane the earls of Mar came frone the king to the eonaall ... himself was clad in one rydins pie of blak wellvet, one great chenzie of Could about his hallis to the awaillour of YO crounea, ono fair blowing horne# witht ano baitharage of gould and eilt sett with pretious staats" His home was typst wltht Fyne could at ererio end, and one pretiouo stun callit one burriall hingand in the midst. This Couchrene had his holt borne beeyd his over gilt with Could and so was all the rest of his harnoo and all his paillzeouns was of fyne ca=es of silk and the cordie thairof of Fyne tsyait silk end the chains vpoun his paillseounie was doubill awergilt with Could. This Couchrane was so proud in his coneait that he contit no lord to be marrow to him **a2 .. o and for diepyt they tusk ano hardim tedder and hangfit him over the brigs of Irrader abone the lair of his complecea; and maid one proolie- matioun aal aryit done all his cunsie,, quhilk tulltillit his awin propheaic forsaid.

This correetioun and 'punishment foresaid was done at lather [aºuder] the year of (Nod one thousand four hundredth four score and aae years that he might be one exacpill to all simpill persouns nocht to climb so his and proceld in so great thingia in one realm as he did. For at his beginning he was bot one printie to One maisono and withtin few seins become werfe ingensous into that craft and bigit money stain house witht his hand into the realms or Ccottlan t$ and beasus he was conning in that craft nocht efterlanC that cold him moister maisone and ewer this Cochran clam heigher and helgher quhill he come to this Fyne as is rehearsoit. 3

IT* note the alle ed effect of Cochren's flattery on the king - be

was deceived and an a result he wae'taine captiue him ©elf un lace

to the cs*tell of Edinburgh. ''

1. od. i. J. v. ri&OXpº, 3 vol.. (c. T. B. 2899o-1899# 1911), i, 168-9. 2. Skils, It 17Z4. 3" Wd., i, 175-6. 4. UlAs . It 176.

yea. Bishop Lealie likewise complains of how the king was misledt

with counsel of Cochran, Rodger and James Hoasi1l, Impudent and schameles porsones Ypon the Kings counsel, mother of any digaitie of calling, bot of the laxest degrio of the pc; le, now promouet to goldecheynasj al ar tans and in their goldechaynes bangt over the brig of Lauder, to their grater eolcr4er. 1

These accounts were written a hundred years or no after the events

nonaribed=2 Pitocottie's at least shows a certain literary flavour

(the esueplus and the moral elements are streenod)f neither are

free from bias. Yet it seean clear that there was very real

hatred of the upstarts even though, according to Professor

Dickinson, 'in effect the hing and bin favourites were blamed for

sruch for which they h--d little responsibility'. 3 And these events

were taking place about the time The Pnbillle seem to have been

written (Lauder Bridge, W2). There seems at least a possibility

that the events hid some effect on flcnrycon'" poetry. however,

against these arguments we must place the foot that all the failings

condemned (pride, flattery, social climbing) - and the way in which

they are condenned - are part of a continuing rhetorical tradition:

I an attem? tina to prove this in cy thesis; that they are all

examples 02' the type of moral failing (aeIf-blindnooa in trusting

oneself or the things of this world inatead of the everlasting

wisdom) with which Henryaon se: ne above all concerned in the

Frb 21e, and ir$eed in u1=at all his work. i3coid©n, ßtearns'

1. Jhone Leslie, ti et rlo or f3 eoýf er ,, tr. Father Jenes

Dalryaple 159 ,. k. u. oo ya Co Lurison, I vole. (G. T. C. 18-95.11,97" 2. For Pitacottie's sources see his preface (1,2) and MacKay' s

äiecussicn (Introduction, i, ppo civ-cxxi). :. 29 Croft Dic: 4nson, Scotland from the Par1iest Tinee to 1F)4'ß,

o p�g cit., p. 228,

189.

attempts to provide historical parallels for several of the Fnb lh3

have tailed as I intend to show.

It Is impossible to be certain whether Henrycon Is referring

to these events. But of one point I think we can be certain

If he is doing so he is merely instancing them as examples of the

type of behaviour he is criticising, not shiolding political

coament with 'fenreit fables'. The moral purposo to paramount.

190.

(_) The Fox and the Wolf

;. a far as I have been able to find there to no specific

oource for The Fox and the Wolf - there are parallele to most

or the incidento in the tole but flenryoon'o contribution i© to

combine them into one narrative and to omphoaize them in a

different way*

Reynard has been known ao an astrologer. In the ©a

de Rennrt le . CQrr treryj _1 he confesses:

Pule Je faloole Is devin Et avea Is phieiolon Falsole 1'aetronomlen Je nomaaole aignee at poine Et don conotelleolono loo poine Lee planette" at lee figures ... (25090 ft. )

The very foot that he considers it necessary to confess thio as

o ain 1O 8 eozething of the attitude to actroloCy ne shall find

in ricnryson'" poem. In Le Couronnement de Renrrt2 Renart tells

the ring he has heard that a star has been seen foretelling the

ein&'a death (648-75). This is merely a ruse to frighten the Lion

but the fact that the Fos believes in astrology is more evident

elsewhere: he tells Ieengrim on no account to inform the king of

the star that has been seen prophesying the rise of a monarch -

hiaself - who will rule all kings (864-71). There are other

evidences of his ouperatition - he hears the cuckoo cry thirteen

times und believes he has thirteen years to live (212-35); he has

studied magic at Toledo (2940-57).

1. od. ©. RRynaud cM H. Le altre, RD, it., ii, 28. 2. . 4. A. Foulet, o=Cit..

192.

Although I know of no other occasion on which the Fox

confesses to a eoite the golf is often shown as a bad Soak (he

is a bad friar in our poea). There Is the wolf who cannot keep

his "ots and returns to the woodfl there is the wolf who, when

learning his ©. b. a., continually repeats Iagnual=2 in branche III

of the R(men 4o Renart3Isengrin reg into Renart's 'order' expecting to

There are zart stories of the

In branche VII1 of the Roman de Re

oll aua tesporari]. y without desire

should confess, He is talon to a

selves the tonsure and in received

obtain a large supply of riche

Fox making a bad confession.

we are shown Renart, grown

for miecbief, deciding that he

hermit:

Biro, as diet Ronart, aerci" Quo qua J'ale fait or aul cis de gant quo 3'ai vors vos meeprla at Vera sea autras aneois Voa cri go moral at pardon" Au Did 11 chat e oroison, malo Veralte 1'a redreoldt "Biaus awls, diet il, or to a1 Cl devant woi, ei me desaruevre tot Is ahisf on chief -I& sale ovre. - eire, dint Rsnart, volantiers (8891-8901)

In our poea too the Fox tails on his knees, addresses his oontenaor

an air. The hersit, on Rearing the immense number of wins or which

the Fox In gi1lty (iA our poea Losrenc" apparently spends a whole

night conlessiAg), dseides that only the Pope can absolve him and

aanda him on s Dilgri*age - the pilgrimage, however, moon encia In

1. from a late twelfth century Manuscript: .HQ. I. Q. 267i Bibliothek

des Doses su NeiVe, ed. J. Klapper, d Vttela 2ta ra, oLl. c. t" , no. 113, D. 77*

2. C^ 191221U, Bell* 13. Add. 12284, fol. 16vj Odo or Cheriton, rviettx, v 195-69

3. el. Roves, o_. cit , XII, 13164 ft.; vol. v, pp. 7 ft.. 144 ed. Itoiueü, 5 11t, IX, 8791 ft.; vol. iii, pp. loo ft..

TM Sum story In told in Renard Is Con treteit, op. oiL., 1l. 24643 ff..

192.

theft cri e1IIShter. Again, In branche Ist Ortsbart persuade$

Bonart to conreas to h1mt as they jourM to the Lion's courts ror,

the badg. r esplaina, he will probably be it to death there.

1onart confesses, makes a eupirfioial ©tonssentj but his reaolvea

are soon forgotten when he sees hens to a tßr*rard" The ease

atom occurs in Caxton's Ri av ,2 and in various shortened forme.

In tha faa1e Ceti the Wolf is the protagonists

Conauotudo male peacendi multa "ala induolt in noble ... aeauncio eat tacociancium x oclus. Pingitur tabula quoll lupus ee iol coneiderco male quo Pccerat penit©nciam foluit facer* do torctactia aula at cum coatitebatur da rapinia at maleticile Buie vl1laaet grege* ouius at intestabat conteaaorex ut expediret sun. Cumque reprehend recur reapordit Consuetudo dodit sihi hcc.

ý

The power of sin to torn an unbreakable habit Is also to be seen

In H=ryßoU (114 169-73)" Jacques de 'i1try'a varalon to interesting

for lto parallel with the aoralitas of üenryeon's poems

Quid autsa sla'it lbsalon segel in anno toeuruntur, quia tagen segel peocata confituntur, sed static capilli orescere 1noipiunt, qu1a atatiz ed peccata recleunt, at its sacerdotibus iliudunt. Ilea set contessio vulpis, quo Bolet in Yrancla appellari contessio renardi. Cum eats dtbuisset suspend, at taws pug duoeret ad curia leaning teota conteselona de omnibus p. acatls, codes die vidit gallinas juxte donna cuJuedac bo tnle, et taro aitt "Ills cat via qua Incedere deb ug, scilicet juxte doaum illaa quaz vide=s. " Cut tams reepondit: "Miner, bodie contesslones miht feoistt de cunotle peccatls tuts, at contesaus eo quod Multse gallines deuorasti, et proaleteti Deo in menu ass quod do cetero abstinerec. " Cut renardus 4 sits "Vern: dtcis, sad eEo tradideresa obllvioni".

1.01. u"., sý a. r It 1035 ft. 1 vol. it up. 35 ii.. 2. eßt. Arbor& 02- all.

,1 pp* 25.9. 3.92 9 fol. 1711+. 4. Cz na C LC XI, p. 125.

19;.

In hie confession towrence comp1®inss 'Veld cause ne to eteill'

(96). In Renard Je Cantr efeit the Fox mused nt length on thin

theme (11.0573-7: 0 Ii, 851 33280 ft. 11,112-3). Varicte vcrsicns or the salmon story also occur, though in

all the texto I have been able to diecovor, the chaructero are

o volt and e sheep. A representative version to that in the

Romulus of Rotart:

Lupus quondam, do malefaetio Buie peniter© diepanene, uouit ae non co=eaturum cameo a SeptuuCcaica usQue Paecn. Post codum uero uldeno quendan eineuen uultonen solca in Morn resorlo grcdicntea, üicebats 0 qucn 11bentcr de boa Eultonem corederca, nici essen uoto ad contrariun obligatuo! Veru-ptc en ex quo Bolus eat, nisi eto do co cureueria, uliquie forte the perte trenaleno cua tollet. ixpedlt ergo ut loco unlue salroni" curs ccaedam, cum sahne alt cibus delleacior of hoe quudragoninali tempore carlue uendi poeult. fultonera itaque ra;, uit et coedit.

Ole cat de quibuadam, qui nalorum ancuctudinc anima habont ita poruercum, ut contra. suaru illecebrarua deolderiuw reque lurementum uulento neque uotum, cýtuin Imo, nccta Qualibot occesinncule, protirus rocidiuant.

In the LBO Rotalus tho %tolf is actually on his gray to fish when

he meets the sheep ('Cul ad rare piccaolonio studio properanti

pinguis fries occurrit in neaore') j our poem is rather aimilar

In this detail. After his teaat I. owrenco banks in the sun (11&3-6).

In Ccxton's r. n , when Bruin or-jao to fetch the Fox to court,

'Reynart lay* within the Ente no he ofte was avntu to dco for the

warmth of the scans ... 9 .2

1. Romulus or Robert, liervieux, Si, 5571 LAO Rozulus, tlcrvieux, ii, 594; Carlo de France, ed. Roquefort, grg c, pp. 310-12j Cuaiterun int1Icua, (Additional Talce I), . arc oux, Ii, 365-6; Iaopot I, Esatin, ii, 289-90= Ieopet m. F3notin, il, 419.

2. od. AXb er, Q P*- 2L_, p. 12.

191.

The wuj in which ücnryson has moulded tho fragments into a

coherent talc, the changes and the additions he has made, will

becon© obvious as the tale is analyzed, The only previous cttempt

to analyse it - that by Stearns in his Robert flenn-_vBonI . seems

to me coa, pletely misguided. He states: Of the few sympathetically described protagonists of the Fable who are not peasants, the characterroo'" the Fox, in the tale of The Foox and the is of particular interest. In a sense, the "mylie tratour Tod" le out or character us # for the space of one fable, he appears to be simply an iaaginative but confused parson with an honest impulse to do the right thing. The poet, of course, is occupied with his trenchant criticise of the Church, and the table is Reynardian rather than Leopic.

Steams has been mislead by hie own preconceived attitude to

lienryson, whom he seen primarily as a champion of the peoplo

against the tyranny of the aristocracy and the Church, into thinking

that the poea is basically an attack on the Church; I shall chow

that there may be a hint of such criticism - criticise of one falce

friar, certainly not oritioion of the Church as a whole - but that,

far from such critioisa being the basic purpose of the poem, it is

merely incidental to an examination of the wickedness and folly of

the Fox, a wickedness Stearns denies. For the Fox's character is

developod in terms of the preceding Tfle Pox %-h, goet (end of

the whole Reynard tradition)t falseness, flattery, wiokednooa.

This is the sane Fox as Henryson sakes plain in the first four

lines of our pos*; he is certainly not out of character, nor is

he cyapatbotioally described.

1. Rohart Ns*tr *on r 4. ps.. ý. ýs. " PP" 114-7"

195.

Henryoon leaves us in no doubt, from the first few linos of

the poem, of the end of the Foxe story:

And spoke we of the fatal aventure And deateny e that to this Fox befell (3-4)

ce fing! 1 rno4iately the charaoterintio devices flearyaon uce8 to

stress his themes the alliteration, the cynonymouo phrase©

'fatal oveature', 'destinte'. There lo no auepenses the poea

will illustrate vby the Fos deserved hie fate by shoeing throughout

his utter moral degradation and folly. Thio is eho7n, first of

nil, in bie attitude to liChtt he

... ducat no sore with miching interciell Ala long as lerne and lycht was of the dcr, But bydand nycht full still lurkarA he lay (5-7)

The Fox's intention was certainly to do more evil; out he dared

not in the daylight so waited ('L= still') for the niEhtj then

he would, it in laplisd, seek evil again. The alliteration otrecaeo

his intentions (': bore ... miching int©mell') and his tear of light

('lang ".. lease .., lycht ".. lurkand ... 18Y). Go, the poet

stresses, Lorrence was pleased when night Pellt 'Every and gled

that cum mim was this n! cht'(14). Repetition by a synonym streasee

tro Fox's reaction. He was a creature of the n1Cht, of blackneae,

of evil. The sass characteristic Is found elsewhere in the ob :

in Tht [axe Qe Wolf and t Do Eiuabenda nn, when the Sox represents the

devil, we reads 'Lowreaae came lourand, for he lutit never licht'

(64)o In The Crs11ow and Othir Hirdiet

In setaphisik aristotle sayis That man saule is tyke ane bakkio as gshilk 2urkis still as lang as lyaht of day is And in the glowing ousts Furth to flee üir eine ar walk the sun soho say not see Co is our" spule sith phantesye opprest To knarr the thingis is nature manifost (15-21)

196.

Lino 17 la very ainilar indood to lines 6-7 of our poem and we

shall aso that tho blindncae of nna'o soul in this paaaage hao

certain eimllaritica to the condition of the Fox.

In our dincuaaion of the Fox'o character the next point or

Interest is his attitude towards astrolo8. The state of the

heavens he sacs is whom in the accompanying diagrur3. l The

coon is in the ascendant: but though, according to nediava1 aatroloir,

a beneficent plrnet (Benevoli aunt ut Jupiter, Venue at luna'2) it

to in the Hausion of Saturn ('Capricornus of Aqurriua, donun

Caturni3f Malitoll aunt ut aaturnue of liars at dieuntur infortunati4i ).

Besides, It In in opposition to the nun, a dangerous situations

Et ce-. pcr quardo tu debee aliquid tacare, alt lung in cncendcnto fortunuta. Et caventum eßt su no opere quoll luna non alt inpeditn" Et aunt Lodi plurea lilted anti duo eecurdua Dorothoun ... IIecundue rodus est ut cit in oppoaitiono 80118.5

Saturn is in Ito own r ion ('Et primp caiendum eat quoll quilibet

planate habet rirtute fortioren in doro quarr potect habor© In colo6');

the most aalevolent planet In thu3 in Ito otrongoct position. Venus,

beneficent, is not in one of Ito own ßcnaionoj more important, it

is in opposition to Saturn which, so we have seen, to in its

otrongest positions

Aspeotus oppositionia eat ration oppositionis, undo one oignun oppooitum alterl in zodiaco roopicit 1p. T= ex opposition, at stelle similiter oxletentes in sigais

1. ; he diagram is based on thoce in W. C. Curry, Chaucer and the U*diaral Sciences (ilex York, 1926).

2. 'The Comaentarq o: Robertus Anglicuo', T Sýer as b and its Coguaentntore, ed. Lynn Thorndika cago, 1949)o pp" 155-6o

3, ib l .. p. 169. 4.1bid. 9 p" 155. 5. ibId. a D. 171.

lkld. # p. 169.

1979 4 IN 1 O+n C o¬l.

96-

_ sy

m \ý

19 e)-

LIP"

O"Ir

tw ýý

Cýc

`. ý ä .t1 FtxýQºttý

Jpo ._! 30ý

410 LOC-1k,

198.

oppoaitie asplciuat ao into aopeotu ... Item inter istoo copootus aopectue per coniunatloaea eat Lortior. Item aopectus opyositionia est aopeotu lnimicitie

Again, sure, a aa1evolent planet, is in its own aanaion ('Aries

at Ccorpio aunt doaus Uartie2'). The one redeeming leatura of

the election Scene to be that Jupiter, benevolent, Is in Ito own

mansion ('aagittarlue at Pisces, do=e lovis3i). Co:

3, y Ceatany and elk my word l watt lira ovintour is olairly to ma kan. 1 (36-7)

Tho Fox's certainty about his prediction in strusao1 by the poets

by repetition of c rnon us (deatany, word, evintour), by rhetorical

patterning of the possessive adjective, by the use of adverbs (elk, cleirly) and by alliteration. The poet has earlier places

stress on the Fox's ability in this latter. In stanza threw we

are shown his laalliaxity with technical tors; 4 beeiden, Lozrence

1. ': he Cox~entorr of Robert, Angllcus', The 2hero 2r.... t tc ed� Lynn Thorn lka tChicago, 19139)

2. P" 169" 3. P" 169. 4. Cum retrograde and aua tear utatlonaro (19).

Quilibet vtiaz planeta pretor color habet epte1c2ua, of sat epiolalus circuluc pa. rvus pur culus circumferentioaº defortur corpus planets, at centr= opioioli camper defertur in olrcuaterentia dofarantia*

a1 Igitur due lineo dua5ntur a centre terra ita quod includant eploiolu: a, una opt Porte orlentlo, roliqua ex parts ocoidentie, punatus oontactua ax Porto orlontia dicitur ststio prima, punatua vero contaatuo ex porto ooaidontis diastur statlo sectndo. at Quanlo planota eat in alterutra i11ar~r atationua, dloitur atatiOnoriua. Araua aut*a epicicli a"s, parior inter duos station©s intcraoptua dioitur dirootlo, et quando planate oat in illo, dioitur direotua. Arcuo vc: o opicioli intoner Inter duos otationos dicitur rftrpäradatio, at planota ibi exiatuns dicitur retrogradu!? The nphepe_ýot to s Q, a d& Thorndika, gQ. it. , pp. 114-5.

199"

know - be not only kncx, he could teach (21) - what Bien of the

31ao each ons (1lkene) of the stars was in (20«1). Again,

Sot astrolab, Quadrant or almanak, Tochit of mature be instructloun, The moving of the hevin this tod can talc quhat influence and constillatloun Was 3, yk to fall vpone this ercl heir doun (29-33)

The Fox, then, has a quite extraordinary knowledge of the art of

astrology. Before consenting on this fact I thins it worthahile

to exanine "hat genryson elsewhere and anhat other authors havo to

erb aborst this art. In Oahec; g- and ur fenryson, after

interpreting the crice of 'itius in an unusual ray - that he desired

all knowledge through astrology - condemns the arts men should

dread to seek'quhilk nano in ©rd czar hnav bot god aliens' (576)"

Ucn should moid'superstitioun of astrolegy' (599) for

Thin ugly way, this myrk aal dully atroit Is rocht cilia bot blynding of tho oproit With smirk cluddie und c7at of Ignorance, afretterrit in We Ysrldis vane plcamnce, And bißsines of temporalitej To er the self a stag it X47 -rocht sei Flor aca"crio on ettir clfeotiount Ptra Ill to war ale thus to hale gvia dour, That Ia was hoip throw lang hanting of ayn and rowll diepair that moray faliis In (600-9)

In T1 e Tsetgggnt oDCIgI Crosaaid attrib'itas her unhappiness

an4, later, har 1a; roa3r to the god3, whom the poet portrays to a

considerable extent in astrological tcrms. Blut tsvontually she

realises. that her unhep ino3s and illneaa have been caused by her

own sotionst beXore the waa b1lnded by uoltiabneca ax4 by , loge or

the world.. Such paoaagou I think aunt ba taken into consideration

in dealing with our table. Other worto or the period convey a: cb

the same "laproaeion. Az we have noun u, nard in to ja Co trefei

200.

thinks it necessary to confeae his astrology as a ein. Defuilevill®,

too, criticises aetrolopr, l

although, like Honryson in Or heue rm? L

; ___fee,

he considers astronomy a worthy subject. The pilerin

pray© for discretion

my eordya co, for t expresso, That ttynally I say repreace Tin errors and thyn ttolyo. Oroun4yd on Aatrologye, Wych ne be nut vertuoua, Ffor they be cuperotyclouc. (20231-6)

And, later, he abusca ßcoz=y

too thor art ruht vnhapcy: And 4yEne (to cyu oppynyoun) Off chr. o c3 ort contucloun, That# so hohe oft thy ffolye Tructoth in actrologyo ... (20774-E)

Chaucer'" view or untrolopr 1o very cimilart he ucee it in the

pagan settings of Tte Knlaht'n Tv and 1r t1 .1 CrIcey e, In

the latter as n cym-bol of can't enclave cat to tho things of this

world; writing, In A rentinew_gn the Antrolctbe of 'fortunat' and

'infortunat' race dents, he states 'Ala theles these ben obeorv& aces

of judicial Saatare and rytes of payene, in whiche my spirit bath

no feith, ne L-= ulna of her or2,44,22+2: 2 In these works, then,

we have astrology seaooiated with superstition, with pagani5m,

with chase, with blindneaa and, In Ilenrysoa'e own works, with'lnng

hunting or 'yn; Ygnorance' and 'thin varldi© vane plesanc&. In our

poem we b&Ye noted the particular emphasis the poet placee on the

Fox's extraordinary knowledge or the art and his obviorae belief

In Lt" Indeed tho pout has bcen oaretu1, R from the beginning, to.

I* lt onV ill jTu ti tr. John Idgnte; e0. .j. uraiv .:. ýo 33,92; 1059-1904)9

2. Pt. II, sectlo: i iv; Robinooup, p" 551.

^201.

place Lozrsnce in a world governed by astrological conceptions,

rcflccting his attitude to life: thus, in the first stanza, we

find the astrological terra 'ayenturo' and 'destenye' used to forecast

the Foz's death; the same purpose explains the introduction of

the pagan gods in the second stanza. : tow, the prediction of the

stars is corrects the Fox does die. But this, it seems to me,

is part of the irony of the poem and, as we shall see as we proceed,

irony plays a Tery important part in the expression of the poem's

these. For, in essence, the death is not caused by the stare but

by the Fox's belief to the stars: his belief in what they tell

his sets in lotion the train of events leading to his death, a

train of eTonta impelled by his evil nature. And here we have

again the double 3traM of the Pons's nature already implied by hie

sttltude to light: he is evil crd blind; the two characteriatica

go together - the evil lec.: c to the blin1noca of false belief.

Oiailerly, in his attitr., 1o to astrology xe see him blinded by his

own evil: in Orih v end n]Mdlce nstroloj7,1c alco Been to be a

'blinding of LAo spreit' (601). '°`liearyson has eocmingly taken the

astrologer-fox from ßeynardian trc1ition but he hau c4upted the

character darkidly to ezpra a thv theso.

The Fox's attitule to confession is further evidence or his

rupture. For`this is not true contecalont he is not sorry for

his sins - it he had not thought this to be the one fay of escape'

1. This at least is the reading I take, from a vent difficult stanzas stans&, 6. It does not' appear to ise that the Fox In thinking of the after-life even though 1.38 Eight suggest its one might perhaps read it as cayin that hic death (rortall fait) would be'i%ynget with nischeir (i. e. the punishment of hell) unless he repented (1.39). But# to my mind, ouch a roa-ding door not fit the ; *ez: the Fox mast believe that eontesolon, in this ease at least o gill prevent death for otheraice we cannot explain hie behaviour aftcr his "penance" (hie attitude of colt-. oatisfaotion soarcol)r iaplios that he thinks death to be I inent). Beoldoa, the eventual puaish»ant of the Fox is the end of thin life. Of course there to en allegorical eignificanee which I Nahall d1D laty

202.

trog tho otaru' prediction he would not havo considered contecalons

aith micchcit mynget lo 7 martall tnit rq sjo1oving the sonor bot I mend Deic3 In regard of cn and ochamefull cr4 ThaIrtoir I will ga seik cum conteesour M4 acrryta ne clans or all cynnia to this hour (38-142)

Line 40 is a Pcrnphraso of 6t.. Pauls wordo in the Epistle to the

Rozzus vi, 231 'StlpenMia onim yeccati, =Oro'. Ironically, the

Fos is foretelling his on doors;. for he does not act correctly

upon hic realization - once again he micun: cretanda tho truth.

His 'confession' Is to be a charm against impending circumstances:

there is no true rapcntence or conrcacion in his mind; he thinka,

vronEly, that a privat can givo him absolution oven it h© is not

contrite, that once be has received external-absolution ho Brill

bo gate* to can ccaýare with what isalter Hilton häß to e^y or t

penances

Anti what isten' yarn or woman pt has lost pe 11knec of Eod }ora dcdly ayn bre1ani godis ccm- We.. enter: i he porn touchyng or grace

fnat1p foraika his synne with coro8 n, ccntricioon o; pert 2= be In tub wil for to =ende h gil tons byg° to to Goode Ti n is pia Vriho restaynes pe sacrament o ponnunco it he 'say or it he 'mnp not ºe is in nil petto sop27 1 say pt pis manner soul* or wo unse p was foraoha yn r. rst to }s liknes or ke deuil Pori dsdly syzn is now be )Pe sscamsnt of penaunoe restored age, schapen sEoy n to pt ; ax ge

, of ours lord god ... Hs, abides not first pensunce doyng ne pyr. rul flsahli h aurrr ! np or he rorgifs it. A- Bot 'he sake* 4a lopyng or sync and a rub forctkynf

in vi-for pe Soule nor but or by da Axyl turnynn or ke harte to ... ran, +, hsn

he -eees, pii ripoutya ony aelwf he forgitea sin MBL'refcriaes pe souls to his liknes..:....

, eyn is , Corgi fen pat ke esul eßl ` not'- be

dsane4. 'Neu Ids 3.. poyn dottid for }® earn is not Sit=

foully trrgiVcn bot contrio on

mod, but be ke more P =fore ac a go

1. US* fleatIy.

203"

and schere bj anä ochryte ll3r! i to his Eoatly tactir or rasayyne penaunce enloyned for hie trespae gladly fulfills it co pat bop pe

be nn eknd pe payn may be cion away or he pance

The passages I have underlined show the true attitude to confession;

by contrast the Fox's is false. And this the poet streacea. The

Pox excuses himself and bis likes he is not corr. that he has

stolen, he regrets the outcome of thefts each night thieves'lives

are risked in this 'cureit craft' yet

For erir we steill and I olyk ar pure: In dream and ach=e our acyis we indure and widdy nek andxcrakraip callit ale =3d syn till our byre or hangfit be the hula (46-9)

Their reward is hanging (em; haalzed by the alliterating 'h'e)

after a life of perpetual ('evir ... evir') dread (emphasized by

the alliterating d). The Fox's attitude to confession is further

illustrated by his attitude' towards the priests it in scarcely

that of a sincere penitents

. 1. Sepla , 8k. 2, ch. 77. Do H' "U Hari. 6579 Toms. 67b. b ea ng is widespread: cf., for example, lelinandus

Frigidi t'ontia, Cerao XXVIII, E-Ls ccxii, cola. 713-4; Cosarius ° Ueieterbacensie, jorus &tir lore , ad J. Otrange, 2 vols. (Cologne, 1851). D et ncttones i and Ill (Da Contrition at De Confession), 1,55-170 - the work was translated by H. von Co Ccott and C. C. Cwinton Bland as Mrnoloo (Drocdwat tiedisval Library, ed. 0.0. Coulton end ecn Yower, London, 1929) where the relevant sections are pp.

% Robertus de Corbona, 'De Tribun Dietie', e ri ed. F. Chem on (Collection de testes pour

sser ýýr

-1 tune at a 1'enseignement de l'hictoire, `Paris, 1902), p. 38 , ed. It. l: o rri s (E. E. T. 13.0. ß. 57, 59,62, - 66, _, , 1674-0) * 11.25790 if. Bro. yard, PAVdissatims g_�W ,,

aV (Contritio) and '. vi (Co essio); Dan Michel" a p" _

172-80; o Well, ed. -bra e s, . pp* laý;

_

pChaucer a Ya

]Zip Robinson, p. .

2014.

ßeand the volt, this wilts tratour tod on knobs fell, with bud in to hic nek belcoaes my gaistly fadir undir god q he, with poonry binge and morgy bek (57-60)

The Fox'o insincerity 1a ehoen by the poet'o direct coccnt

('wylie tratour tod') and by the exaggerated aotiono deacribod

In a typlaally Henryoonian phraaaot 'bony bir o and Cony b©k' -

ezphatic e3ective repeated in balance, cynon o linked by

alliteratioa. 1 It Is impossible to awe with Stearns that the

Fox has 'on boas et Impuls® to do the right thing' or that 'the

Fox's cczplote, immediate faith in the Wolf, whom he Is traditionolly

supposed to outwit is almost touching' 2. ntearna' tiojudg=cnt

bocoWos even core appcrent os we read on and find the Pox's pretence

at colt-denigration ('"Badir", quod he, "I half glit caue to dudo"'63)

and flattery even more beavily emphosizedi

It sr the lanterns and the sicker woy, bu , garde ale syspill folk as o Sao grace;

bairfeit and yp rouseet. coull of gray, lone- cheikla, hour paill. ax4 petoue face,

t; earls LIU "eill Y, o u' pertyt halyaccej for weill war his that anis in his lyte had hap to yaw bis arnnie aQj& to echryte (64-70)

The Fox le a master flatterers we note the emphasis given by the

repetition, cM balance# of the pereonol pronouns nrcl pooaescivo

cdJactivee Ye, Your, end Yaw, appealing to the holt'® vanity; the

use of o4jeatives ezphasizing the monk'o holiness ('bair', 'roucuet',

'Ions', 'pally , and 'petoue' - these linked and reintorood by

Is The devices to be found in this passage of Fao are also used by the flattering Fox in jhg 2.; a ILO 'U-19 ML She ti ,s, and Tp5... F22i n In discussing the atter. we saw -how some at least pese devices are to be found in +onnes Proaetee LUI*

2. Robert ilenry. jkM, o. cit. " p. 114. 3" its. ousset.

205.

alliteration - leading to the climax# alliterating with the previous

two$ 'portyt'); the use of adverbs ('full' and 'ania', twice used 40

one would need to confess once only to such a holy man: again the

wrong emphasis in penance not repentance but the virtues of the

priest; again appealing to the wolf Ie vanity); and the false

humility: 1010 s7npill folk as me' implying, of course, that, by

contrast, the friar is learned. Stearns' oo=ent on 'the novelty

of a Fox who not only cannot see through the Wolf's disguise but

who has also convinced hiaself that he is one of the "aeapill folk"'1

aee: sa singularly inappropriate. The Fox's plan has succoedodt

the golf believes (or pretends to believe) his penitent (1.72).

The Vox continues- his pretended Self-denigration:

of reif &all storth, eahir, I can tell ennewoh, that caua e me sair for till repent; Bot Fader byd st heir on this bent I yow beselx, and heir ne now doolair air conscience that prikis as ga sair (73-7)

: bA Fox interpolates «, Pressions of subeervisnoe ('sohlr', 'tcder') -

expressions which perhaps are used at normal confessions but here

used to an exaggerated extent; he stresses his sorrow ('Qjjj sair" #jig Bair'). And so he kneels ' bairheid' , '[III Maly' (79)9 The

Pox is not repentant (86-90): he rejoices in his sins. This is

one of the few tiles in the poem that the Fox tells the truth;

but even here he uses the flattering and deferential 'eohir' (86);

and when he la asked whether he will repent he, returns to hio wiles,

excusing biaselrs how else can he live? Need Is the cause.

nenidest MF I schase to beg I enn nocht wirk ye Mat Yet Wald I : raw pretend a gontill stilt .

(97-8)

1. Robe earraon, 02- cf%sý p. 1159

20 6

These excuses have lame aeasureýfof'iilidity, w if only to. wtýnS who

is prepared to believe xhat3'the Fox =tells hilt - and! the Fox has

prepared the Wolf for this, by his tlittery, and by the; -truth or-

his lack or repentance.: -ý There - is nothing ; whatsoever wrong, with

being ashamed to"beg -or, -- even with pretending, to the 'gentill°atnit!

(the t7olf,, hiaselt a hypocrite, should have great sympathy }With

this last excuse). The Fox eppeals to-the- rolf's, 3uhCea$nt-; . ('ye watt)# another form of flattery. nüis'skill is-further sho'a

in his scceptrnce or penances gxI` t'° .Ij

As ser considLqd. dir sir ooapiexioun, seikly vaik and of q natur tendir

. AL

viii ye as Ian b ih lone, and skiender. Yit nevir the los- I. xald, so it wer,. 1ycht Pr schort noch grevand to my tendirnes tau c paarte of pane, itilfill it, gife I macht, To satt my cil3zr soule ' in way of grace (103`9)

Va find again the Fox* appealing to the' ää1t' a judgement and knro hedge

('eer', 'coasiddir', 'mil ye aä')j and eyäozýYiaous adjectives

ooikly , rsik ," teendir , lone , aaklenderj etreseä'b

" .. cud' ) * ¬ý `... 'and'; 'U 81 th repetition of`con'jsnotioan end ... LUld

en; hisizing the poor stete öf' the Fox's 2io`ßlt (the poem'eo äüdlonco,

however; k" i this to be quite satisfactory, judging from his

previous actions)* Loirrenoe isädetermined, to gain absolutions

so, he clair.. s, in M spite;, of, ('Yit, ; nevlr the. lös' �= again- a repetition)

his parlous state hefi. 1 s prýpared , to, take, some, penanceu but It

must be,, yoht' ý, q" ' 8ohorL' cu3Y a, 3ýpýirte

'rocht, greyanä';, >. and

he does not prozS$e, to fulfil. it... k ,: Eyon , thee: penance -he Is given

he causes to be modified by his subtioty$

1 ̀grand thnirto aa` jre . iºill `gate öe-loifP

ý: to sit - pudd. ingis) or_, 1aip !. litti11 blade ý :ý_ or held, crd; gteit- or, psnchis.: laus preit t ,, f 1n cnis ýI tant, of tleache , in: -to. _sty,

tuds (113-6)-

ýf

rf

i.

's?

1

207,

First he accepts; JWM asks for relief tae . notes 'so y, g will

gife se leit' z again a typo of deference) # trying to make this

relief seem very smalls his use of Oorl auggeuta alternatives

'end'would have been accumulative; he wants only a 'littill'

blood; he wishes merely to 'preif' the paunches. And, of cource,

he supplies an apparently valid excuse for wishing to do so" Ad

he ends with another speech of deference and flattery - it has

undertones of irony as wells 'god yelid yoo ser, for that text

full Weill ye know' (119)0 The Fox1. with masterly flatteryl has

succeeded in blinding, or thinks-he has succeeded in blinding,

the Wolf to his true nature. But also, by his sheer skill as

a flatter+r1 just as by his. eheer-skill in astrology, he has shown

his own blindness to truth, has oantribut. d to hits own downfall,

Honryson has taken the pox at confession# and the flattering Fox

from Reynardian tradition# but he has combined them and adapted

then markedly to express his theme, the Fox's self-deception.

Before dsaling Frith the PoxIs attitude-toJpen2nce I shall

digress briefly to discuss th. character of the Wolfe He Is

prsscntod ss$

A worth doatour of dluiaite Pfreir . olt waitikath in science wondrous ale To preohe and prag was new cua of clostir With beidis in hand says d his paternoster (53-G)

The nass waitsketh-(One who waits or watches for a chance to do

harn) g1Yis an iasudiate clue to the Wolf's character; no was I

early pointed out i2 t was taken fron Caxton* It is interesting

It Diebler Henri 2'0 Fs) 1& t n, oovit. , p. lib. 2. Reynard ie oft to &oZa on pil riaiage and threatens all who

hays sent hin with the Pope's curse for 'Thar [in Rome] io prentout, vayte scathe cnd other of xy frendia aW alye0', Arbert SL'2ý ., p. 70.

208.

that the other occcsion on whlah liezugaon uses the word 'ale'

to also in a derogatory contexts

It pass far alkyd of pestilena a wickit wind with firdis fair and ale

( L5' s�et; d the PW-- k, 136-7)

And the Wolf Is 'Wondrous sle' (the 'w' linking, by alliteration,

with worthy - thus stressing the sarcasm of the use of 'worthy'

in this context - and with '1olf Yaitekath'). So we are certain

that his telling his beads and his saying or the paternoster

are more showl designed to attract attention. This impression

In strengthened by his reaction to the Sox's flattery's he loughs

(71), obviously for pleasure, i

and is taken in by the Pox's tricks.

Co. eventually, he gives him remissioun' (112) and excuses

himself in a facile, but apparently learned, way, using a proverbs

'for neid may half no law' (118). 2 There is another possible

interpretation of the friar's character, an interpretation perhaps

more consistent with his name which seems to imply that he is

actively seeking to do hare. It 1s possible that the tolf

understands the Fox's tactics but lets him continue deceiving

himself in order that he might make a bad confession wd suffer

the consequences. Now the character of the Wolf is the only

evidence in the poem for what Stearns calls the poet's 'trenchant

criticism of the Church'. But not only does such criticism play'

an insignificant part in the poem's action, but also it In criticism

not of the Church, but of one friar.

1. Cf. Ths Pox end theCQCk, 1. O. 2. Pergusson. (1&41.. edition), 649"

209"

Lcn epee's attitude to penance is as false as his attitude

to repentance and concession. We bare alr©o. y seen Hilton saying

that the sinner must 'resu ne penaunae for hie troapas , a� gladly

fuirille it so pat trop pe sqn pe payn muyý be don sway or he

passe hepent. 8i*tlar3y, In a fifteenth century sermon, we finds

For in certayn case thi shrifte In not vailable, and therfore it were wall on that thou gouernest the wisely In thi ahrifte. Sir I toy the ther be tours case in the wiche a Donee shrift is not vaileable ... And the tourte case is when that a man 1s neollgent and evill wild to fulfill is peynaunce that the prest bath gene lirm, In envy of Was toure cane a man most ehryve him ageyn, for Is confession is not Ysileabla. On than, to shrift, and loke thou be so sett-that every things that thi, Moetely tcdur roll sett the and bid the do reeonable, loke that' thou criltully take vppon the and do itt. l

The Pox would not carry out the penance given him, when he found it

difficult ('the walterand wawis wode', 123; he had 'nowdir net

bottle nor bate', 128); his scheming mind worked out a plan

intended to overcome his vows (again we see an example of fenrycon

rarkodly adapting an earlier story for his own use). In the 'yd6.. _ sp=a r

'3 4.

humour of linen 134-40 we catch some of the Fox's pleasure and

humour at the brilliance of his plan. It is quite probable that

the episode is intended as a parody of the sacrament of baptism

('Cu doun scr kid cum vp ser salmound ag¬ne', 133) in the Fox's

mind. It mould be fitting that a perversion or a sacrament which

should be the : zcunaý of gr ice, is the - meal e by irMch t1 i'oi'

is tina11 brought, to judonent. for his own, perversion of.

1. Vt. 0. Roes; d1, g F t, g. h_E3, crm. ýs f or'. a, p" 278.

210.

another eaora ent, leans of grace. And re see hie extreme

seif-satisfaction when he imagined his plan had succeeded:

Thus fyna], y fillit with tendir melt Unto a den for dread he heu him dre©t Vndlr a busk quiair that the none cowth bait To bek" his breast and bsllye he thooht best And rakleslye he said quhair he cool rest ntrskand his raube agane this sonnes bete Vpoun this bellyo ware sett a bolt full sate (141-7)

And it is part of the Irony of the poem that Lowrance's jesting

words - his seif-satisfaction in the success of his plan, the

extreme self-deceit - are mated upon. For the Pox throughout,

in achieving Ulu false purpo$ee, has boon deceiving himself; and,

at the height of his self-deceit, when he thinks he has got both

a good confession and a good-weal and life coom perfect (1.146),

his own Jesting words are fulfilled in earnest. One looks in

vain for evidence to support Stearns' contention that the Fox

represents 'e group of people with whoa the poet night well have

aympathisad - the dispossessed gentry'.

I have not been able to find any parallele for the story of

Lorrenoe's death: there are accounts of Renart's deatb2 and the

death of Renart's fatber3 in the tradition but these are very

different fr o& the incident told in our fable. We spy' perhaps

rind a reason for tho means of death in the interpretation or

arrows 'ter. Biblical comr entstore. ßt. Bruno cou enting on Psalm

ýczanriiý 3 (4uoniam sagittae tuae intizae aunt m1hi) states:

I. . grlLa t, ot), g1t. 9 n. 217. 2. fi2alLn 42

,g }ar,, br. XVI1, od. Uartin, ýg glt., ii, 197-242" n tod a" yet in Roquca edition.

3. Caxton'a RRaYnarcthe Pox, od. Arbor, o2,, cit., p. 39"

211.

Vol quod dicit i tae tu ae, 1nfJ2SaQ 001 ea., ale legitur ut per sag ttas p uaquc in superiors cententia intelligatur. Suporius oath per aagittaa solumaodo aortalitac at passibilitas intelligebantur, quae bane eagittae dicuntur, eo quod do Longe per eas Deuc Mae ooaminatus set antequaa peccaret, staut sagittae do longe trahendae comainantur: fel quia per aas genus husanun attioitur, ad Lodum intus, qui sagittarura vulneribus affligitur. Miter autea sagIttas latius accipiuntur ales Puts in zeis, id est o 't tae at pese bi tas at Zones poccati.

Fe

Hrabanus Yaurua interprets the arrows as beim;, aaongat other things,

the puniehzent of Gods '... Per sz ttag vindictce Donint, ut in

Cantico Deuteronomii "Et aagittaa aeaa" Id eat, vlndicta© wean,

"co : plebo is eia" l. 2 Now, the punishment o! ° God In generally

thought or in connection with-the after-life; this Is implied

in the moralitas (181.2) cnd also by the Biblical quotation

('8t1pandia oniw pocoatit moral) used earlier by the Fox. The

tradltional interpretation of the verse refers to eternal death=

Abelardt 'Yerito finea diafit taa =vitaa qusa morte1o- ani*ae aeterncM... ' j3

1.. "0011110 in salsas, P. alit, . col" 793" 2. Ajlg&Srj*g In e, P. L. csii, col. 1Qt . CPe

also raa7ard, Mum a,. U xi (hors)

2; F. es o fic im OWInem , ed. Walter, Po 49 rt.

3. EURBAS12 IR s P8911 PA M, Liber III, clxxviii, c0 lo 6810 . ®so rimasius Jdrumentanua, 1! 1 F 49" A VA Raeuýos C fig, PI cviii, col. 448; Ueyro ttal eratatensia,

t timPau - F. of RA 21RUgge �iy cxvii, Colo lu; '. true abcrctua, tp la a p, Paull - An FpiatolaM gds ano®, Pj" cxc , Colo 14191 1Ra2 dus° Utrabas, uloapa UrdinQriao- 1; ý, cxir; -, col. - ßt89.

ýr rr 5

# ;. a.

a..

, -o-

y.

ic:.

ý

r., p* Ax ep :-.. Y..:

prv ý".. Yeba_4n

e, ..

212"

We can perb3ps take the poem on-two levels: the one a portrait

of the Fox's self-deceit; the other allegorical, an exasaination

of the dangers of false confession. The roralitao deals with the

latter only - there is no attempt at a point by point explanation

of the events of the fable nor of the characterictiao of the Fos.

Beoldesi it adds natirial for which no parallel can be found in the

fable itself, ex; =ding the meaning to all types of false confession:

the Fox's action had been an exemplum of one type -a person

believing that one need merely have external confeosion without

contrition, Other types:

Quppose that be as for the tyre contryto Can came., forbere. nor fra thair s. Tnnis Mee as dra is nature no in proportio

'Offýbeist and tan that nedie tha3mon do As thaj of lang typo hagre hantit th=e to (171-5)1

The Fox in our table has never been 'aontryto'. Again there la

nothing in the fable to parallel: v -w,. i td... ,3

MR y 4 WNA

'e k4

Do wiifuli pennance here and ye sell wcM Sftir your dead to Icy witthouttin end (181.2)

The post, thang in the moralitss has not explained the table so

much an taken the central situation and expaznäed it.

Is creative hsre, ' astweat have -seen it-to be throughout re

his baMling of tr itional stories: '

Ilia work

the roes is

1. The power, of . sin which has become a habit is also examined, 1n' ,- 11.286 - ft. and' the Proog, 11" 54-69 *..,. :.. ß

213"

(xi) The Fox tryed before the IYane

A story conto many aedimval fable collectione1 toll©

of a lion who, ceoing a borge in a field# approached it with

intent to kill boasting of its abilities as a doctor. The horde,

recognising the tricky complained of a thorn in St© foot and the

lion, stooping to pull it out, was kicked. The moralitue

usually castigates the lolly of the treacheroun and the false.

A rather similar story In brcnche XXX or the Ronan de Renerd2

teils how Isengrirrs asked a mare . to be hin companion= the mnro

agreed to CO with him on condition that he renovod a thorn from

her hoof. The Eolf bent down to do so and was kicked. Again,

in Caxton' a S�Ut3 one of the, Fabulae Extravagantes tells of a 3=

wolf's adventures on a day he t ou ht would be fortunate for him.

He approached a mzre stating that he would eat-her foal; the

agreed to allow-him toIda so4after he=had, pulled a=thorn from her

foots he wen of course stunned by a blow cM unable to catch care

or foal.

1 Vulgate , Roaulua, wg1slo"Do ed. Öaterlee, ` oD, ' cß'9 p. 1421 Caxton sann. Oct. acoc, One t ii, 65-6; W1ssembourg £sop, ' Iervieux, 'ü, 173 s Christi Oxford £sop, Herrieux, ii, 256; Vienna-Merlin fomuluc, liervieux, lit 435; '-Florence Romulus, Hervieux, 'ii, 493; Romulus or Nilant, Hervieux, 119 5321 LBO Romulus# IIc. vieux, ixt 583-41 tteo1u , Baatiu, M1,, 17-18; Qualterus Angllcue, 'Bastin, 'ii, 39-40; Ieopetyde 17on, 'Bastin, 11, pl55--7f " Isopot It Bastin, lip 273-5; Isopeiý -III de `? sriag Bastin, /i, , 4134f B. U. ä9. - ilari" 2851,

1 'X2. Farley -268 fol. X44; ` H. 9. Add: ' M3.27336, fol" 7a! I oPet _II de Par s, B etin, i* 76-s; Isopet de

ý. u . t,. rtres, ý3astin, is A2

2. cd. Rogues, p. cit ,: t° ll. 14981`15070; vol. v, pp. 60-2*

3. cd. Jaaob ,,, __c

ir ii, 157-8.

214.

These stories, ho'reter,, are but distant analogues to llenryson'e

The Fox %1294 before Lone. Much closer parallels exi®t.

In Caxton's RetIl the Pox confesses to Orymbert that, when out

walking with Ise=m, he aas a red mare with a black colt.

'IaeMs was short storuen for hunger And pruyd, ice, goo to the

more and iyte of her yt she volde sell her fools -$ The Mare

replied that 'ehe mould, sell lt for' n price'oraton In" my hyndre

toot. Yt ye coarse rede and be a clerice ye may come age and rede

1t"' The Fox recognised the Mare's plan vM, having conroßood

2tcalf unable to read, ran to toll Too Mm Urhot he doceivod.

leemml

of neuai ... That ebolde ae lotto I can wel Srenahe, latyn, easliseh and'duchc. I haue soon to' acole" at, oxenrord I haue `also ! ryth old3 end auncyont doetours ben In the nudyence and horde ploee and also°hcue gyuen sentence I an lyeeneyd In Bothe lures what caner veytyng thaton-sen can deuyee I can rede It cs. perryFhtl1º as my nano I aryl goo to her"and-steal anon vndorstonde the prys.

She agreed toý' a21owº trhag weir to read' lt t anä'lyttö, Yp; her toot

whiche was news, ehood Myth yron and vj stronge,. nay1oe crA she rr 1n a-xr . ti t. F. ý

smote hya wythout sy ssyng on his head that he tyl doun as he had

been deed., a

The mare. and her foal trotted away, unharmed and

Reynard proved- hie usual, consoling self=

,. # , 8ir. 7segryx. dsre ome how

. is it now wyth, yor.

haue ye" eten-ynouh ofthe°oolte':: -: 1-pray Yom telle, me. _ .

hat was. wreton under, the mares 'fate vhat'tas it: prose or'ryme. -metre or verse.

I wold fgyn knout� it. I, trowo lt was . cantum. fors 1, har+do` you "s rngs me' thoughte, fro terra. . for to were, sowwyee that"no4man ooude -rede `it''- better. ' than ye .,. .. 1 ý... .ä.,

1. ed. M'ber, 22,, cit. 1 pp. 62-3.

...... ý, ý`. ý, ý_ ,__ , _, , e.

21 59

Alas re; rnart alas said the wulf I pray` your to laue yours cockyng ... The hore eyth her longe logge had an yron foot I wende the noylee therof had ben lottrea and she hytte me at the fyrst stroke vj. grate "oundeo in my heed that almost it In clouene suche manor lettrea shal I neuer more desire to redo.

Dere, eme is that trouthe that ye tell. me I haue grate meruaylle I heelde you for one of ..

the wysest clerkes that now Iyue Nov I here eel it is true that I long syth haue redde and horde that the beste,

vclezkes, ban not the wyeest aßen.

Oregory Cn1th arguas that this last phrase proves that Ilonzyaon

knew - and used - Caxton for, in'tienryson' e table, the Lion, to

chose court the Fox and the Wolf return after their adventure,

ranarka on mseing the `T ä1t la bloody head

? hic tale is tree quha tent vnto it to: ia The grettest clarkis ar nocht the wyaest men (254-5)

Moir C . tth smy be , correct but there are conflicting. pieces of

evidence. InYChaucer! s Reeves Tale the Miller, planning to outwit

Aleyn and Cjrm. ptn. razarka

'The, gretteste clerkes been noght; wigect. men' Aa Thilo to the wolf thus cppa the care. (I(A) 4054-5)

Tho provcrb socks to have been taken from a version of the fable

current '2n Chaucer's tizo which`Iieär eon too may have known. True,

hare, the proverb is attributed to +the mare, in Honryson to the

Lionj 'but` a eixil&ird1fficultyexista''With 'Caxton0s version where

the proverb ic'attributed to thePox. Cmith also adduces as Cf4! s. <zzný f2

'F V

cvidence for Hennison's ues of ' Caxxton' a peynar

the use `Of the word` Parliöuient . j. for the Court

held by, the Lion. The term is ý generally ; "CourL'.. ý s fa or 'Council's as in the heading of the first and thirteenth chapters of Caxton; but in the fourteenth- chapter, wohave' the`oallin of. *a¢

t 4'DsrlsaonL'_. mfer the` trial of, Reynard. g

1. , 2' o t;

_, 1, x11-x111.

2. , I,. 9 F. x111.

216.

The use of the word can however be paralleled elaeihere. For

Inataaae, Gobi speaks twice of'aquila re= auium [quaej ºel

eongregauit perla.: entum auum: l And in © very important text,

"h1oh to shall diac'sss later at lengths Odo of Cheriton specke 'De asino nolente venire ad Parliamentum Loonis: 2 There are

other difficulties in accepting the thesis that Caxton has

influenced Iierrtson in this fable., The setting is very different:

In Usnryson the Lion has sent the Pox and the Wolf to the grey mare

to cummon her to cozrt; she claims that her respite is written

on her toot. In Caxton the Fox and the Wolf walking together

sec a red &are whose foal they wish to eat ehe clelm# that the

price is written on her foot, More* in Henryeonf a table the care

does not at first tell the "ambassadors" where the respite is

written. Thus the Fox's plea that he 'can naht spell a word' (201) and suggestion that the 'Vo7. t read it seen' to`be made to

avoid responsibility (bt this'nenorge he'lä prin6lpal2; `203) rather

than an a malicious attempt to inure the Volt. for are there

parallels in Caxton for the Rare's Offer of her foot to the Fox

after the dolt had been laid low and 'his reply 'helix quem -taeiunt

alien pericula *cautui' (22ta). In fact the whole emphasis of the

epioode seems to 'be somewhat nearer the 1eentence' of the table

describing, the -Lion# the bolt and the 'Foie sharing the' spoilo after

a hunt. But this ie must discuss later. For the moment at least,

than,, ee: samt *recogni se as unproven. the 4case for,. Csxton! s influence s

Aix dä

on ilonryson, realisingvof course that the ' latter! e fable suet, hare

1.3�1ý,:, Ct2! ý. ßgß., fr, 834, and A

2. Usrvi. uz,. lv, 365-6.

P-179

been taken iron u ctory vory ainliar to Cnxton'c1 and that

t: curyecn h1x c1r could Lave ncdo the =)d1f1cat1O15 we have

cxrxincd.

A cozcih: t cir, ilcr story occura in several ncdinval fable

collcctions. 1- It ccc»s however to be no nearer to üenryson'o

version than Ccxton - more distant pcrhapo for the tale concerns

a mule. I quote from. the shortest version, the nixed Romulus

or Bornes

Yulpca, videno L»uluza, m, quaesiuit emus E; enerle erat et quod nomen est. Qui alt quo4 ignoravit Qual ne : ca eibi twit inponitun ()� qula nImin iuvenia, of ideo pater auua rocit ei uaribi cub penis. Quod traudun avertcns Lupo nuntiavit; qui, venlens of videro volens, intertoctus. eat. 4, uoa deridcne, Vulpes mitt Iucto iudicio hoc pateriet volebas legere et littorac neeciebac.

Et docot hoc non, nimin inquirere nec omni spiritui eredere.

The moralfites in the Lunich Ro: ulus and Lteinhouel recde lulitcr

oanes inaipiontee, dum docti vidori oppetunti frequenter lcbuntur

In maln. '

Ne are, I, believe, in many ways such closer to the Ilenryson

fable with a s. e ingly unique version by Odo of Chariton which I

mentioned . before. I quote in full:

Leo edisit vt oania animQlia coram Ao cooparerent, et, illie congrcgatie, pcoiit ei quod animal abesset. Cut responsum carat

-quod 2uidam Aeinue aberat, in quodam pz'ato

1. Saldo e. larvlauxi v, 375: -73 Munich Romulus, fervieu p lit -;

i. "' o ed. Ostarle7, gong1jet

Pp. 192-3; Caxton s Fed. Jao a Sitg# ii, 12b-9; mixed Romulus of Berne, 1Iervieux, lit

04; Jacques de Vi try,

Crane J=IZI, pp. 13-14. In the latter version the Fox himself is tooled. The story is also to $e Sound in exeeýpla. collections in B. U. MS. Add* 183447 ft. 121 --122a and f. U. M. Arundel 506t role 147.

I

218.

viridi at delcctabili ninio so depacccns delicate. Pro quo producendo, Iupun tan uan : ortcu at Vulpen tr uan prudentem, suorum. posccnte consillo, transmittebat. Gui accedentes ad Asinun nemoratum, aibi nunclarunt ut more aliorum coram domino suo co: pareret, illiuc edictun humlliter audlturus. Gui respondene dixit as tall pruuilegio tutum, quod ob-omnibus bannis at edictie gsalitercumque emergentibus fuerat exsnptun. Nuncij lam dicti, ut clue prluilegium legerent, pecieruntj quoll Aainus concedebat. Altercacione quidem oxorta, inter. Lupum at Vulpem quie. corum leserot, *3ore' codidit super Vulpem, quo pocht praullegiux sibide: onstrarl. Cul /ainua dixit: Sub pede dextro louato lege courlientsr. Zt Vulpie accedentle oculcs percut: ando auulsit. Uzde"iupue prccauene cüxit: s; ui clarici probantur periciorea, nch'cunt in apere`caualore a.

Mutlee*- Per Loonen moralfiter intellioo racionem quo do omnibus quo fecerat hoho dleponlt,, par m Lupum tortitudinem, por Vul om prudencien, per Asinun carnem pondorosum t=) et='delicias appetentcn, quo ruclonl contempnit obedire at prudeneiam nimis appropinquantem ezcecat° et- contundit =eto

(sio)ý.. - -t

There ara{d1rrerence8 or course, -, the*ettitude or. the coralitas

towards the aria*le is revrorsed,, the-crooture summoned is an ties

not a care, the Fox is injured. " the roll can-sees vise . but

äenr7oon's fable must'-have been based, on, this story or at least-

on. like it. 1, -=-LeaTing aside thi s latter poesibility as ire =-let

Barre` aside0 but' a1ia s" rase ber1., auch posmlbllltlea in our

Is The--oecurreance of this=r. ble in written form In '& fourteenth century, collection, would` seek, to wake' unnccessary° Dauman's oonteatioa` ('The "rolk. -Tale and 'Oral' Tradition in the Fables of , Robert_he rson, '1 h, , `p.. ý12l) that'kenryson's< fable is°derived'trom a folk-tale source. '- P Hausan= provides s' parrs . let for_licnrycoal a_rable'fry` theyAarue-: hompson ` elssaitl cation. ý It Fis similar to Odo's version but, _ eves . it, it'could bebproved to have been existent In folk-tale tradition in aediaval tiees,, I. would judge it sore charaeter- istiu otx1ienr7rson (fron evidence; adduced, in this thesis) % to-work°from a literary than from 4 folk-tale source.

219.

discussion of the sources of-all TTh Febillis, we might take this

version as our base and see how Henryson has changed, Rid by addition

fron other sources. _ It seems an if Uenryson combined into it the

ending suggested. by the other version of the story of the hoots

the dolt's pretentiousness "is punished. faut, , as was shown before

in our discussion of the version or the talo in Caxton!. ea

there are striking differences between this combination and the

original story (taken fron Caxton or . elsewhere). The Fox ecc a

to learn from hin 'friend's' Mistake, unless we are to assume that

he is being Ironical and that he has. known all along that the

Wolf will be kicked,. assuaptions that I cannot sirs: supported in

this text. As It stands this portion or te table is in soße ways

s1a1l*r to another coziaon r lel in which, the Lion,, the Wolf and

the-Fos ahem outAhe, apoila or their hunting. , The Wolf *uggcstn

ILA equal sharing at which the Lion ripsotr its scalp, Turning

to the Fox, the,, Lion asks how it would, shar©- the Fox suggeete

that Daly the s scraps oLould be left . tor itself and the Woir;, -_

the Llon should have-all that Is meat. In unBser to the Lion` o

gaestion of hoer it has learned to share, "oo well the fox ansvaras

'Donine, Lilo rt: bens*cap® lama,, uagoilsmii, du onutrato capita a4

czcorlato' (Ode of Cheritoný, 2 'acs. aght auggoat tentatively then

1. Jacques do Vitry. = Crane CLVIII, gip: -'69; = Odo of Cheriton,

Ifervieu=, 3T, 193-4; Gtephanus do I3orbono, IragInjuldQ 4yaw, "is io"ta"Jim i"ý1.. ý.

ýLoaoy. ße . 1a'. turcha,

he 4 ncte e 01 e10, pp" 332-. 3; `. -e? u tiro -a c; 4run, belle Ado. Mu. 112b4, fol. 83; Br oaWard, 3Sa loan ,D xli- (Doainatlo) 25-6; John of ey, ervieux, } r, býý £ ßriteah! ý'Pm! dr f111+-le, 92LA i -rr. 448 gay

ý.,. q 2. A soseihät eisiler°rarcl'. ia draýra fr'o= tables^1n thb, ý jOrUg Cr "turýrti,, s, =dIa1. -441 ed.. Oraesse, oaýolt. , PP" -1g6

7.

"' ý9

220.

that Uanrysaz'a table azaitt shova his method of creativity -

coabinatioa. 'T' ha relation hip b©tue n coralitca end table r

shell discuss later.

Co fer we have dlccuosed but one, though neeaingly the

principal, episode in the fable. Other epicodec seem alto to

have been co: bined from different sources. There Its *ono cort

of parallel for the Fox's attitude ' to his father in Caxton's

__7 The Fox, being tried before the kings, argues that once

he he4 caved the kth 'o life: his father vt. a part of a plot to

overthrow hin, a plot which was to be furthered by bribery - the

old Pox had discovered a trcacure. But Rcynrrd had rc=ovcd the

treasure and when hin rather found thin 'for grate anger and corowe

he vents and 2iynge ? yncelf ... And I poure reynart haue no thanks

no reward I haue buryed shy n oven ruder by saune the k3rng© eholdo

haue his h rf: l In our, table too, the Box - burico hic father, is

pleased to be hin heir. 2

The psrlicnent in held in p. spring setting (71-7) like that

in the nz ;nd g71 _rd t

Co dirt l'eetoiro es prcnicro vors cue a estoit passes yvers of 1 aubo copine floricoit

.. et la-rose ospanniaoit at prey tu do 1'4cenoion,

-xessires Noble _1e Iyon V toutoa lee baiestea tiot vcni en con palms. por_ cart tonir.

pp" 39"0. . 2. Tho Ise, 4tory of Renard in, TA Boa2l) Al Rona --I s very 'different.

firs, `ooninuin to apo21 zcroation for -te -J all ýby, { summoning forth ' evil crsatures, : bringe up - the tox ß fron

. the , =ssa. (branohe , XXIV;

Roluea, Ill e , 11.3733 ft. -M vol. Ii, pp. 16 fro); Renard's death, brought on by A. quarrel . with , Zaorzin, 3e acoozpanie4 by the utmost 'poop and rituals ' he is wept'for -by

'King and 4ueon (branche XVII; Martin, o., ii, 197-242*" Unedited -as yet by Rocuea. )

3. Rogues, Is, 11.11-181 vol. i9 p. 1.

221.

The beginning of Caxton' e ýc" ri is also intarosting in this

connectloa: It was aboute the tyma of penthecooto or nhyt- contyde that the woden comynly be lusty and Slade= And the trees clad with leuya und blosoona and the ground with herben and flowris ewato c : ollyng and also the foules and byrdes ayngen molodyoualy in thcyr cruonyo That the Lyon the noble krage of all bestie wolde in the holy dayea of thy© foeate holde on open Court at etude whyche ho dydo to knowe ouer slic to hic lande And coWmanded by otrayte conmyomyone and naundezento that euerm bee ßt chold come thyder in eiche Tree that alle the beeetle grate and anale can to the courte acuf reynord 1 the fox for he know t ¬elt rawty and j ylty ...

In our fable the Pox cocoa to court but he too in guilty and afraid.

The pence decree (148-51) in also part of tho tradition,

In the o= Rcaart tells a titmouse

Or a dang Nobles 11 lions novelement la pea juree, to Dieux plaint, qui avra Mures; par as terra 1'a tait=purer at a see barons aller qui soit Barde® at maintenue. ß'cn hont tout lid in gent menus, our or charront par plusore terres plain at noised at mortde guerreat at lee bestes grans at petitee, in merci Dieu, seront bien quitee.

2

And in the Bona the Poz in several tinas tried for his crimes

before the court; 3

as in our cable he uses his cunning in hin

defence, but In the R=M thin succeoda, here not so.

1. ed. Arber, 212, ff, p. g. 2. Roues, III, 11.4482.92; vol. ii, PP" 38ý . C. also the

Pablo or CcLo of Chariton (Hervicux, iv, 361) beCinninC 'Rex c, aisaliuaa conuocauit oanta unimalia bruta et -aoratituit vt oeculerenlur ctimiice :, vbicunaue obuiaront, in eiEnua tederir, Dacia at azoris. " And I3rocryard, }umtue Erwicontium, I vii (Ipocrio), 8.

3. Ct. Rowues, it 11.1209 ft. f vol. i, pp. 141 ft. Also (in the 'o: ' a aboenc©) VII, 11.6111 fr.; vol. iii, pp. 18 ft..

222"

Having acur. an tar an pocriiblo what. llanrycon an tshon from

the tradition wo can now axznine what ho limo dons with his iaterial.

But first, to rczo e contusion, I aunt comment on Otearna' only

reference to the -Sable. -{ It conoorn4 t ho account of the ingratitude

of La*rmce'a . aon, an account which, ha maintalrini. 'han little

relevance to the table itself'. ' I hope to shov that, -such a

judge=nt Is maa iide3 but Pirat I wish. to Question. the interpretation

he puts as tose pa$3aaa. He. ee. 7o 'This p*$Bago cozWtaina many, dotails

which appear : to roter to eaae epacitic parson' j2 no rcaaon is

given for this asa" ption and, In my opinion, thcrp can be non3*

the'ciaractera'r, ot., both tath3r, and -so; = era ccrtninly ýoloeoly

observed; but,. co are the ' chcraatura l or wiry of >. tho unimalu in

the Roam de ° Hein a, for instance, ftournu<. goca on to point out

parallalaýbetacen. thc situation to described in than po9n anA the

struggle between John, tourthtlord of the Isletýý c ; hid eon Angus.

The diftiaultT , la, ? cTovor; -, that: scan , of the po: me that Utoa. 'no

quotas as parallels: are not too: at ,. all: ý. to . za was illegitimate,

cartainly, just aaa; Father, rear is; ! but} novhur'c in our poem dodo

Father i7ar lead. a revolt againatk hie own tathor and defeat him;

nor Is there ür4 arollel gory ßhe- tact that *the notivo which had

led Angus to', revoltY a;; ninat hin'-father was -a resentment of the faot

that John is4 subjected' hinsclf t3 " Jnsea "°IIi3 or for the conclusion

'Thua# roving defeated hia father, %njua wan from to viplato, the

boun3ar7, } treaties betwee , John and the ; Urz. " The : ax had net

1. L ir .' . ý ý 2. 0 D.. 19 0 . .

,

tj. bi dam, p. 10.

223.

given away authority over his landj his eon is merely-pleased that now he will have possession of the lands - the natural

transforence of ownership from father to son on a rather's death.

Stearns continues; 'The rebellion of rogue against his father 18

LA escMptlon to the code of clan loyalty for which the age is

noted, sad makes it difficult to find suW other historical analogy for Uenryson's allusions. " There is no question of clan loyalty In the poem sr`d I fail to see that there-am any allusions for

which to find cn historical analoge, -Once again 8tearno,

presuming that Henryson is a political., allsgoriet and satiristI

has been aisle ad by his own-preconoeptions into falsifying the

nature of the. poetry which , he. alalas to be Wdieoussing,

The action of the pohm oentres�largely., around the king's

parliasent I . wish therefore to discuss the Lion first of all.

Eienrysoa stresses both his grandeur end the utter subjection of ` the beasts tä his. The Lion cocaarides

Re noble '1youi -6t all beistis king, '-'* Orsting to vgod a leotonL but ending To 'brtitall, beistis, and Irrationall -,, I seng! as xto ' my subieo-tis. grate, and e ail*, My celeitude-and., hie sagnifioenoe, Lattis yaw ritt lurth with incontinent Thinkis to morne with riall diligence Ypounýthis. hill_. to. a

2a1ä" aýpanh1ament. --. ßtraitlye . thairfore I, gays commandiaent,, Pfor `to

. aoapeir betoir,, my tribunall, +, , Yndar all tpune az4 : parrsl2. that: 'ay . tallý s(60-7o)

c'o see stressed his'royßltys`('i`te' - the royal, plural; 'king';

'celuttude'; `. 'hie , magnificence'; 2 'riall') "and, - his 'aut city

pot 1. Robert HenrXs 2. ktenryson uses "irilar 'phrasing , to describe the majesty of the Lion in The T`on the Mouse, (ct. il. 116 and 169).

a24:

('subiectief; ' etraitlye .. I geve coansndiment t; I" 'Ynder

pane D, purrell' ); for those who place themselves in the world's

power - the Läoralitaa (1.295) teile us that` the Lion represents

the worldl . believing it to be 'sovereign, beoome `oompletely

subject to its `eway. 2 In tact 'they are blinded by its seeming

impreeaiveneae and beauty (end by-its pretended devotion, 1.61);

the7°are 'brutall belstie' and 'lrrationallt, irrational, in having

given 'up their reeeon by `tollöwinä "the world (an interesting

comparison is with the "second 'epistle `of ßt. Peter ii, `12 where

those 'qu! post carnem in concupiecantia immunditae ambulant' (v. 10)

are called 'velut irrationabili© psoorat), tbrutall''in being slaves

to sin and their bodies'(Prolos, 43-56), to the world:

This Wolf I likkin *unW8eneuaiitee As quhen tyke brutall beistie we accord Our aynd all°to this warldeisivanitee Liking to tag and love his na our lord (309712)

The poet continues his emphasis on the Lion'e royalty and power:

Thre leopardie come A crouin of Cold Bersnd 'that , bracht unto Ythat hillis w-hicht with Isepis'Iunyt and rialltrubiee rold And 8 momma diuers 'dyanant! s'wele dioht With polls"proud a pal; ondoun thäi! pioht And in that trone their sat. a wild Lyon In rob -Aale with oeptur suerd and crouný (78-84) '

1. Although I-discuss here the poem-in. relationship to the moralitas, I-fully realise that

, one's. reaction while reading the poem for the first time racy suggest-a very different interpretation. ý- I- shall. discuss 'this , 'problem later.

2. to sti ght. compare, with, the following : from ° Chaucer' a translation of ßoethius, tBook IV, "Prosa 6`(Robinson,, p. 368)s 'ryght so, by asablable reson, thilke'thing'that'departeth terrest fro the firsts thoughts of Cod', (one might eery, into this world) 'lt is unfolden--; and-ri ittid-tongrettere-bondee-of deetyne'. Wsa'shall oxsaine'the, linkage°between the'LioWend-. the idea of ti Fortune = in our -po"a shortly.. iý

pw

4,1 'J

225.

üenryron'a heraldic reference (a conflation or the: royal erzne

or England and scotiand. 1) given some indication or-the-power and swan of the Lion. (The tact that he is served by three leopards - aristocrats in the animal hierarchy - any remind uu that the

renowned of this . world serve bin;. -,, cf. 11.295-8)o Hore typically

äenrreonisn devices -'alliteration; the use of adjectives and -

adverbs such as 'divers', 'mony', 'wels' -º also contribute to the

stress. The world U asgniticentl, g rag sovereign to its

subjects= but the adjective 'mild' perhaps links him to the

irrational beasts he rules reminding of the reality behind the

facade. I, shall, returnto the-catalogue-ot-beasts in a little

while. 8ut71oeýit to saphasise now-that the animals came 'for

dread of dei4R (122), hurrying (124). They were afraid or the

King and utterly : subservient, to ,. hiss , °. 'Betoir Chair lord Mane

thus lowtit ls' (126)" 'thair¢lord' --they-belonged to bim,

"aaepted bis Yaluesj - there were none . ho:: refrained . (ilknne) t

Seaad thir bustle at bisibid4ing boon He gave a braids and blenkit all about Than tlatlingis to bis, reit. that_fellA down pfor druid of dead they drowpit

, all in lout (127-30) a .aak ß, rä

Again their unanistty'('all', repeated) In fear, in complete 40

.. ä,. subaission, is stressed. The Lion is pleased:

w3 *w"

And badthais with ans countenance await Be : noaht ., af orit Bot stand upoun your sit I let yow -wit , *r myc2t is meroeabill.. t. and steris' none that, "ar

. to

. ae 'lprostra, t 1AMe `austerne and, als ', rna, uabill i, To na11 thatTstandia agaais°ayae sstiäi!

1. Bruce , Dickens, ! Contributions - toi the,, Intorprstatiori . \\of Middle

Coots Texts', a letter in To 21st February, 1924, p. 112. It doss not seta to as tha th s device is used to accuse spoifio kin e or worldliness; rather it is used to choir = apart respectability, the apparent magnificence and power of the world and its posainC pleasures.

226.

I rug I rare all beistis that oakis debait Agcnls the rycht of my magnefeconce ¬a none pretend-to pryde In ay presence (132-40)

This Is the speech or a tyrants we note the constant recurrence

of the personal pronouns and possessive adjectives ('S', say , 'Ake', lawns'); the demand for absolute obedience and the threat

of pun. istueat (the alliteration on 'st' through lines 135-7 linke,

and heightens, a contrast: those who obey completely are left

alone; those who: disobey or bppöss are severely punished; the

alliterating, balanced 'I rug, 117TO' emphasizes this as does

the repeated threat 'angrye, austerne and e varaeabill'). Only those who give ooaplete obedience are tolerated. Ile is

a tyrant arA be 1t the figure of-Fortuna$

° Tha- 2aeest heir I- *ay ryoht sonä. TD Me And Wait hin maieter ouer yow all I sqy The Drosadair git he will mak derby Or the great camell thocht that be neuer an crous 2 cs. n thane law as = litill as ens mows (143-7)o

Henryson gives u" 4° sense of the king's Unlimited powert the

repeated 'I moyr'; =! I, can' f In spite of all opposition (1 that be

nsuer sa`croud) "h. can do hia` rill -! rycht. eons!. There ic. lmplicd,

iu oertalu, -a,, oosparison with Fortune's ability to salve high or

lour at ri11. , '; -- The' oonoept of Fortune, -, and her instability, ' is

introduord.: into Ae poem in two other. wayat. by the setting: az4 r by t! s catalogue of -b. astst

The'moro, ing co*. and phebus with his begys Consu*it had the iysty cloudie gray

tTbo' groundwas &"no and as, the gold It, glue With greets grovaz4 gudeliß grate 6Z1ä M Tb spioo than` spred , to spring. on. euery.,, spra7.. The lark the nauis and the aerie so bee

M __Mmtlrs=aoan, sing trip; aºnd_trajra_to trs_a i71"7i ,. _..

ý,

.ý4 . a... `ý. ý ..

227.

Htaryson, like =oat other late medieval writers, al* 3ra uses this

traditlonal setting iconographically, l to reiirui ý us of -the- vanity -

of the world; it a; peare beautiful now (Just as the Lion's . apparel gMU beautiful) 9 but the beauty of Nature tedee -- it, io

transitory, chaazing, like Fortune$ like the world. The

significance of the isagery is made explicit in The zson sind the EMS

a

The fair Torrest with lenie loun and Is With fowlis song and flourie reply suelt Is bot the narld and his prosperite as fall plesandla *yngit with snit repleit Ryabt as the ros with-frost and wintir weit faidis so dole the "arld And th=o diocavi© quhllk in their lust contidene havis. (260-6)

The introduction.: (t PbdbnW t 1.71) a*y ý also , be of significances,

with its suggestion of paganism - the idolatry, and futility, of

worshipping this vorid.

A co$parison of the beast catalogue in our poem with others -

it is a cosaon device in medimval literature - is also interesting

in our consideration of the similarities between King Lion and

his subjects e. nd Fortune cult her servants. - There is a similar

catalogue in XinAis Guairý2 stanzas 155-7. Oregory t3mith

states that 'The oorrespondence between Henryson and the author

of The King is r may be on3y raccidental'. 3 This seems unlikely

for of the thirty animals mentioned in Tbg Klagie_u., it catalogue

only five (the lioness, the elk, the sable, the 'toyn3ee' - beech sartin$-; Taridýthe -ermine) are"not`mentioned"-1n, üenryaon'er-"`°

table. $hatrrer t? ýi}reuationiýhip'betýeen the texts may be� in

10 Cf. yont 11.8-20, , 264ý6f ýSýrnhiue'end '

2"x ed; W. ts Cke at -( MT: S. 1884) ý,: --",. 30 P2MAe, 0-4.211L* i, 16 note to 1.878.

228.

both Fortune is presented in connection with the catalogue* or course there is a different attitude to Fortune: in The KinRIQ

t a1r the narrator has come to terms with it1 while in our poem

Fortune represents the values of this false world which must be

avoided. Other places where a catalogue of animals is used in

conjunction with the concept of Fortuna occur in The 3ook of the

Puche (11.1 27 tA. ) and ,, he Parli=ont of Poxle (11.323 fr, ) l n 4.

. ice i6

again, this interpretation has different enphaees2 but tho

corresponlenceo are noteworthy, reinforcing our conception of

the animals in our poem as under the power of the worlds of

Fortune. The catalogue itself provides several points of interest.

Firstly, in =its composition, Henr son begins his lint of animals

with a group which Illustrates .. F

hv wny, men . In 'operatioun r ar 2yk to beistis in thair'oonditloun (P o 48-9)

- men who have, booms : animals " or : rho . are iý in nature, part man

part beast, Thus the Uinotaur, the offspring or Paelphae, Hing'

queen, and a snow-white bull - the unnatural product of lust.

The werewolf too fits his theme perfectly -a man becoming a wolf.

The other two monsters provide some difficulty. The Bellerophant

that'beist of bastarde' (93) cannot be Bellerophanä.,; who refused

to co: sit adultery with Anteia, 3 - scarcely the action of a brutal

äA .aceaw .

'.: ý W äwa s4 a 4... ß. L ...

s* , i+a

beast. Charles Elliott suggests:

1. Cf. ' John }Lac: ueen, 'Tradition and 'the Interpretation of Thyin is Culr'"o cit., p. 124. 2. pp. 222- .

3. Harvey Wood . quotes a sixteenth century version of-_ the story

pp*' 234-5' note "to l. ý , 888). RIPS to e, in varying forms, In medieval exempla

oollectiora, ye. g. B. M. , 113: 'Royal: 12 8 xxi, 'ýfol. 47b; B. k" 1t3. Karl. ? 322 s fol 99a.

229.

Pre= bli Bellerophant is the'Chimaera, slain by Bellerophan by the deYising of Zobatea, King of Lydia, acting on the request or Proteus, King of Epbyra, whose queen dntein had played Potiphar s wife"to Bellerophhan. It is a beast of bastard ! beacuee it is of 'mixed' form, with heads or lion, goat and dragon. l

The Chi=era's perente are also of interest: it was the child

of Typhon (an earth-born monster of many heads, hide and feet

from different types of animals) and Echidna (halt-fromm, half 11 corpent).

2 The description of Pegasuo Is also perhaps a little

pussslizng. iienryson describes it as

the pagan perolua Tz' srorsit be aaaent of aocerre (94-5)

Charles Elliott writesF

Pogasus was 3 to the Chimaera, being instruaental in its slaying. The a2

; robablyrefera , to, the etfoots of, the ýitp'given

by'Minerva to Bellcrophcn, ahertb3'. the steed assumed a tractable nature- for th4 enterprise of killing+the three headed

, beasts),

ew There is another . possibility - perhaps I1enryeonäis referring-to

the origin. of the Pe csun, which sprang from the trunk of the üorron

Ledusa, with who* roseidon (feptune)q had , had,, nteroourse in the

form of a horse or b'when, her heed was, auf off by Perseus.

If thgs suggestion is accepted we again find the these reinforced: the evil aortal changed M(tranaformit) , into an. animal t, t the nan in

whose hind `sin is `so fixed that` hö 'in bruj tall bätet be traneformat'

Perhapev the ftct- that" opeaia2"mentioa 'Ic'M de' or ý,

2 s. Emig , 137 not® ta t- ' 1.88,8. 2* , u ra , Typhon , FQ2t1 .. r ; Wt.

3. . 9LUM 921 git 138 note to p. r. -, 1] 889-90 .s _ .f .p ,...

.q2

230.

the sole's blip eas (120-2)'is significant reminding as it does

of the attitude of the worldly to 11ght"1 The eecoad point of

interest in the catalo&ue-is the post's stress on the large

aueber and variety oS'aniaals who hasten In obedience to the

Lion (the world). The aniaalo selected are of all kinäe, the

common (aiss, avil, hors, -gait, soheip), the- foreign (oliphant,

drooodare, leopard, panther, alp) and all ranks. Number and

variety are stresaeds the 'hors of eevory kind' (104); 'D alb

ottour alp jnjj Derjyt Aorcupz, aa' (109) j With 'doggta all =1=

and deferent' (114) 1 'sik,,, the lerron' (119). Unbroken lists

also conTSy the Impreaolon of large numbers:

The Iolye Tonet and the gentill stead The. ails -the -swll the horn -of ererys kind The da the re the hornit hart the hynd

The bull the beir the bugill and the bair The eodvys wildcat and the wild wolt'yne,

_(103-7), The . hole aatalo, ue. ris markeä by most intensive alliteratioa. whioh,

It "Gas to be, p through Its repetitive , eaaphasis, gives aa. iatense2y

cumulative eftsot. p.,

; e, xv note. too_the role of the narrator

intensifying this , stress s

And, quhat tha j waro As 3 tod Laurenoe, me lere2 I *all rehers 6" -of every kynd

a ., { 89-91).. , ..

Eisatlarýjr tx..

w.. And one lq'z4. or belsL hat I ggch& Befoirtý hair Lord ilkane - thüi 1ov t low 5-6) 3}

1. Cf. aft . discussion 'ot 11.1-14 of, !ý . pp" l95-6 and of the opening stanzas of Thew

,, irdistpp. l1,3-7.

2. '' ienryson is `seeaingly using ''L6wrence' s 'e'genöriö 'zisae. This Poz was named ,

'Father were! (6)t . his : father was named

`'Lowrance' `speclficsl3yý but he had been killed before the action of this fable begins.

S. Thisw*eans "or expracsing large numbere rruu oöaon in`iri di 3vel poetr7" -°-ý -form -of tt io to "be , round, for instance, in the othe boast catalo os referred to earlier. CMith (ýQý, Qgg'ý'r i, lb note to 1.878) points out the very clone rene=_u-Iuuces o eeea the use or this device in1 our em to use in The Kingle Q'inir ed. akeat, care cite . stanzas 154 and 5o. r"-"-" . ---wýýý

231.

The third ezphasle in the catalogue- Is the opged, with which the

cnimsle ca =e in obedience to -and in tcar of their king .. " So

'the aparth turth culd hir epoid' (100)= the reindeer overcame

many difficulties to be present= 'The rsyzd. eer ran throuab rover

ron and read! (102). _ -Ands The tusk the litill mows with all bir cht In haiet haykit unto that hlllis hycht (123-4)

Go the catalogue of animals plays an important part in the

thematic deyelopment of the poem - it suggests the concept of

Fortune and the complete subservience of all animals (i. e. man

in his deg~eacrato state) to the King (the viorld). Ito inportanco 1

In far greater than %iood'a 'the interest of things seen and noted'1

indeed one may doubt whether it can be said to have thi© interest

for the deocription wens iconograFhic rather than realistic.

To return to the King. After his threats he demands that , i_4 - C'

..., 'P - : 1s

,*k -z T, . ... #! ý

the aniaäle cease from preying upon each other (34&-5i). In the

context of the eonplote poem this passage moy seem to provide a ,Aä. .

difficulty: in the roralitas Henr? son interprets the Lion no

the world, -sömething'evil, to be avoided: for instance monkäräre

'Abstrackit- tra.,, thin, warldie wretchidnes' (306). We have £ seen`

how details dot'the

fable Kaye been-moulded by'the, poet to fit this

interpretation. -, ", ,, But' the law of 11.148«51 seems commendable,

ealaulated tö gain the reader's sympathy. There are, however,

reasons w2jr� it 1$ perfectly appropriate to the. King and to the

poem as a whole $ tIt-. f itat - of, eouree, the aotion of, the poem,

for later, thc ? ox}'vill, be convicted ' for' this very'oIfence. They µ

World* and worldly r Jere ' do have certain S acceptable stand dso

-4-e _' I. <,. Iw, nc. x>ri-t %» '-. .4 , is sw 9a. ,,

`d

1. Yg2&s_'nd- Fabl s, oD. etwa -p.. xvii.

232.

There is another possible intended effect: in our first reading

of the poem (I can only record my own initial reaction which nay,

of course; hate been produced by an incomplete response, eepcoially

to the°iconographia nature of some of the imagery) we immediately

szpathize with the King; few of the, details given will lead uo

to question this reaction for many of them are, perhaps intentionally,

ambiguous -for instance, the Lion's apparent recognition of God

and the lam=- his power and majesty:. ! brutall beistia' may need

such a king totgaide these The Fox's attitude to the Lionl and

his final punishment reinforce our first improssion; thus we

criticise themare. (which,. after all, is merely 'ane grey studs

roir', 182, a pitiful ere sture in comparison-with-the handsome

and powerful ling). for tailing to, ooze _ to court. But the moralitas

causes us to look at the poem. In a completely new way, at least co

far as the King and the Aare are concerned- the pox is condemned

what ver. way we look atethe poem: The post has shown us our own

predicaments = 3. ie ý too, esteem ° the . world -as, important: and consider

those who oppose`itr xroxg=, the`, shock. of the unexpected interpretation

1. In Bannatyne this, ie shown by the Foxe thought, -and action

(21. «l60-75). The other manuscripts'provide'two additional stanzas tollovin;. 1.175, or direct condemnation bythe author

(Wood, stanzas 139-1i4,11. "971-84)., The alliterative

pattern. wens. Henrysonian. though ths,, metro is very, rough indeed. "-.. . _" ý1 .1.,. e Yor instances

t lairaeill °'thy faae, , nor -gone'is"all° thy.. grace ý, The Phianomie, the favour off thy face For thy defence is foull and: ̀ ditfiCurate*- ; -e,, ý; Brecht to the licht, basit, blunt and blast (9747)

_'i 4y ': - t tb 13 ".,

It' is ...

strange to find the author praiain ý the court"11 -, explicitly

y (see, RotReareit with riohteousness,. 972); 4 , this say be, intended to`present-a'blind narrator, unamare of, the implications of his actions: it is perhaps intentionally misleading. In any case it' is offset by 1.9811 'The worship of this warld is went away' - even the 'brutall beistia and irrational' of this world cannot abide the Fox's misdeeds.

233.

is perhaps an important part of the poem, %le have seen this

device used In The Cok and L he . Towe l) and chail coo -&t in M

wolf *2 tbs -redder, in-dealing with the latter table I argued

that Henr7aon had manipulated his source to secure this very

effect. Perhaps be has done likewise in The Pox tried befo

the Lions for Cdo provides the expected moralltast

ttistice. Per Leonem moraliter intellioo racione8 qua do omnibus quo fecerat homo disponit ... per Asinum carnea pondorosum (oL) of deliciee app©tcntem, quo racioni coateapait obe4iro . ".

It is interesting., - that the Lion 022260 to be even more lzposina

and praiseworthy laour Zable than in Odo's this could be

Henryson's own change to mislead us, a change nada in very much

the sane way as that in The-Wolf end the Vedder. There is however,

a serious objection to the contention that euch an effect was

intended. It would require the audience to be oblivious to the

iconographic nature of euch of the imagery: they setting, the

Fortune fIV&"#%theprocession: of, beasts. It seems scarcely

likely that sty intelligent contemporary reader would have been co.

such is the , setting of. the V oz! s -notions; « we must next

ezaaine his 'character'. -. As I said. earlier I: belioys ßtearne

to be !n when be atatea that the lntroduotgM ceyotion to the

goaa 'bus little relevance to the table "iteelf'. "In fact it

provides' än inter; reetation for the Pox's 'chäracter' that explains t ä. 4`- , .. .a., n, a'.. =. rn z. dN ýa=.

"+. ý ýt -o wem'-, =`, ý.

ss.. ýP ... ,

his action - my the rest o. the poem.. The Fox's nature = is shorn by

coa arison. with' his father' of Fader Were was to be still more

adept at similar crimes, Ie: too 'luttt idle' with`pultry` tig `and

tars' (7) Andt 9

cH i, z 4:,

234*

Drc1a 4 nothing that wain ly1fe to led* In atowth and reif an he had done before Bot to the end entent he tuke no more (27-9)

In the previous fable (1.73) his father had confessed to 1roif

and ýstowth'. "Fader were intended to follow his father's

ernsple, neglcctin, the warning of his death - he-was as blind

as his father to the , realities of ütej he would suffer. sl*ilar

Funishr4nt as a result. Co ae Lowrcnca 'deid for hie tiiodede'

(1) ... 'Be auddano echote for deidie odious' (214) 91 Father rare

too was to die a criainalfa death. " IThe onor 1t of hid banenaso

is shown in his attitude to his fathers- he

'uka vp his °hede syno on his kneip tfel doun'- Thunkand Erete god of that conclusioun (14-19)

And, his cheerfulness shown by his use of an alnoct noaningleas -biy..

4FMsr

proverb ('Ar ryrmio the fox ale lang an he tut haie, ' 32), co=onding .. I,. I, .A-,

the body to the devil's cares he throw it into a peat holet a c ...

Ct res .

i'' iY`. rA vg

sign, ironic", of 'faderlyo pitee'. 2 ,*,. .

ý4 i_". Y nrs

The narrator coznmantc:

0 fulich nan nloungit in warldlynes To 'oonquetat twraa xis guidie -gold or rent To put thy- caule in pane and hevynes -, To riahm thyne -air quhilk after 4thow be went üaue, he t2y- guile he takis shall-- ©ntent` -. To sing or may for thy ealuatloun ... (3644)

3 The pasanje of course contains thoughts common]y ezpreseedf but

I* V adopt' the" reading of all the Both r texts'berei "'the `BAnnatyne reading -'for decke is odious- seems indefensible, an easy aistake-for-en-unthinking scribe-to make.

2. Tös reading of "the' other early-versions ='naturell" piotie' - Is interesting; '. nach an 'cotton ls `per1 ap© natural 'td u natural son, the. product of, unlioonsa. lust. ( ä. brutall beist'. and irra ioaW).., a . ,_w. ý. .. t.. eý ,

N.

3. Many exaaples sitht be cited 'from classical tines downward. I shall restrict myself to a eormon'parall©l, from X1. O. }Ross, 111 J422 Rn JI sh Bsr+roýe, oor- °p. 86. _ Though trotexact

t is Interests c ro- ý- k#,. ^-. gyp,

(Ccntiaucd overleaf)

235.

the'poet certainly uses hia material in an uncommon way, for it

is hers, ' in oae -seme at least, ironic. The Vox' was' certainly 'ploungit in warldlynsa'; he put hie 'faule in pane and hevynee'.

But, as far as the reader can ese, he has not done so in trying

to enrich his' heirs - he has done co in' trying. to fulfil his own

worldly desires. `- Sven by normal worldly staniar. a - trying to

anrieh ons's-heir - Loxrence"was culpable; his son was to be

even Worse. ..,

Fr irre ' ie' next shown ° at the court of Xing 'oble afraid

of recognition yet afraid of the consequences of absence for he

is, of course, a. subject of this world, the world Of-bestial

huaanity. The Fox wondered how to save himself 'with talsheid'

(170)= before sojpleaaed with himself, rejoicing in-his-possession,

now he pulled his hood over his-eye 'tor dreddour' (174),; hiding

behind the other`-animals. °° "-He'has "inherited tciiother -of hie'father's

cbaranteriitias$ seit excuse -through flattery:

-A lord ncrcye lo I have bot one E Hurt in the brach and crukit ye may as The°wolf is bettirý in embaseadry And =air cunning in clergXe than I (186--9)

He showed his respect (A lord)p appealed to the King's judge. ent "

£. i .. G. 't. ct_..,.

E: i.. r. - _ {v '" a

'. s'

? :: ti '*w s äu ,-_ �F' +

('ye guy so'), stressed his injuries, assumed ignorance and modesty

all techniques his father used to deceive Chantecler and Prior Wolf

ArAi oa this`wIso Ckat had'ýaa y folorers `while" that he

v, fsdde whewj but., then were but, tewe, that, wold . die for., .. bya ne with hm. - Like one the aeuc ` prize it tarethbe -trendes of this world, when, that thei3oosrto .. the-aoounte of 'dethe' and shall rekene. Thor euery man ta: ceth of r"

xotDur. wbat4bat-thei saystell, and. bent away;.. and anon,,, _ as thei be delle and `passed owt of ' this world then' thei bo'

, putt. owt of mynde.... ßut, thecsuse of frenshippe la. richesse. Than cesaynce the cause of-rjchense cessesee+the effects- or tr+nehippe.

236.

Qaitokath. .. Fader Dere slog tlettered - the Wolr in, order to

avoid responalbillty. (202-5). >° He was I& troudru11 rot' (232) ,

'thie§traytour tod this than and this tike' (236), breaking the

newly *sde laws Z"ct returning to kneel before tho kind (240).

Enselln. Is the position taken by all the subjects) the %mbla

=they alto, adopts it when ehe coaeo to coxploln (260) or 'Thin

harlot here this hursoun hu 4 or hall' (262). The description

is pcrticularly appropriate: these- are obviously words of abuse,

trat they aM also literally correct: t1. o Fox aas, as ve have seen

a '2uiraoua's his father had cane to halls he, worse, was to

follow presu=blyo, A, aia

we are shown the, Fox' a aastcry of

flattery an& calf-excuslnr (269-73)+ but his flattery failed

as, in tho final rnalyait, hca bin father's; srd he# like his

father waa puns od by death] and, as hi s, father was 'nalkit' (17) ý

tothe dud a command od: those who. bound him to 'tar of, all, bas;,

c13 this': ' a. (282). ° The Fos was worthy, of death even by, the . standards

of this world.:

Ve have exenined ` the K1nE and , hin courts and, the 'character'

of the Four.. Tire *' other ' charscters'i worthy ot.. oention are , the.

Wolf frx1, the, sure. -,. , -T2. IoIr too Use -characteristics similar to,

those of the Wolf is the precious fables he succumbs easily to

the Fox'a, flattery (211-12), In ourpresent fable-he'sutters for

his pride` (225-7). ;- The attitude of the court-to the, coif is of

some interest,, its eeeas to be a source of azueewent to then

(255.8), Sates, he becomes' is Doctor, of Divinity ('new mild' 283)

another si lärit iith"the prev1oüs* fable,? 'surely a rotlecti

on the nature° of the "court: The mare's importance is twofoldt

237"

tlrstl. j In &2; ecrsnce aha In merely lane gray etwas weir' (182)

in 00424rison with the noV1e and finely arrayed Llon (tor worldly

thiage are often externally attractive, those of BDIritual value

otten re; olloat). Ceaondl', the carp le olever enou& to outwit

the e : baes3dore Qf the World - in iienrreon! ® poetry learning Is

usually alllcd with cor. 'ect Ya1ueo -(ot. e vflo17 and Otbli

Tho zoralitaa opens with raze II ntorosting atatenent of intentions

Ftycht co the rynoure In his rjnorall ? fairs gold with tyre"say. fra the lode wale wyn Fycht an vnder a fable flgurall A sad sentence ms. y ecke and otter fyne Ac drylie dole thir doctourie of dyvyn Apart]y § be äoure letting can applve -t hnä preise thane prechine be a poocye (288-914)

Gold (the moral) is won from lead (the fable), the image to %

aeeninsly taken fron alchoz. T - what to preoiouo is won, with

difficulty, iron what to more droas - juxt as the husk to pierced

to roach the kernel within (E , 15-21)" Ile who does this-In

like the preachers the fable becomes an exeaplua Vpreue thane

preching be a poesy d) the lessons or $which we may apply to our

can lives, The fourth line of the stanza is perhaps a reminiscence

of part of St" Matthew rii, 7$ ýqüaerite at invenietisý. 2 Aö 2

1" f'e aa7 recall : the phrase eäding the previous table in -the Dannatyne versions 'licit exemplum veritatie et faleitatis'.

2. Bede's coame i in hi yatt R41_, _Fv r}ý; ý, 1� iu oei io) on the verse ýis : interesting; : .,. :ýR... t.

Petit* vSýý et reliqua. Fotitto portineL ad-caper as saa £a teea iraitatemque animii ut as quas praecipiuntur implore possinuaj inquioitio autea ad imeniondas-Yeritatea. M Cum °gaie-autea°veraa visa °invenerit'ecýreuiet"Nad_ipsaa-posacseIon

a, quse tsssnpulesntirtaperietur. xoii, -Cole. ti

r

238.

have sirdady explained I believe the second stanza - with its

interpretation or the Lion as the florid - to be central to our

understanding of the poem as a whole. üe note how the poet

csggests the huge numbera following the Iorld (heavy alliteration;

the '&um ... sun' construction we have noticed before):

... To qulu=

tooroulsbth aannd sülpto wax

and King

JýM godderis fiere S_U Cold sine ether gud© To %7n this . arid j3LR'wirkle as they wer wode (296-301)

The remainder of the aoralitas lot honevar" of a rather different

kiM. Hen. yaon isolates one particular episode - the mare's

hoof episode - and gives it a particular treatment. One could

perhaps say that what we have been discussing is the literal

perhaps the moral - level.. At this level the interpretation of

the mare's hoof epiaode would be°that sinful men tempt the virtuous

into the service of this world. But, in the roralitas, Henryson

discusses the episode on the-allegorical levels- the=aare represents

contesplatives, 1'her hoof-the thought ot'death, mthe Wolf sensuality,

the Fox temptation. ` This interpretation oertainiy doeoýnot apply

to other parts of, the poem t it_ would be vain . to. sayr, for=. Instance,.

that the world'2au ha at sensuality and kills temptationo e

final, stansa* is not an' interpretation or the poem but a prayer

arising fräs that interpretation - such an ending log . or course,

found in several of the 4 rvj jbIj j 19.

I, think' it'can't' fain. claimed a. then, that Uenryson, again,

has used his . sources In ,a 'highlykcreative ganzer. .s.. ý tl .. » ý

qÄý= fs jgSt 3

ye

RP +

1. Fables giving advice., to gremaiä

in the'Vcloietsr are also tö bei round in the 15 and 16, ed. ßraosse, cib $1 pp.,, 15277* -" They, are not directly" relevant$ being sores of precious-jewels and trou the'V ggý, ýý , ;

but ; nit is inter*oting, to'flnd

. this `subject dealt wiý in a colleotion. of

animal'ýstories "apart fron lienryson! s. 2. bsrnings against sensuality, worldliness, sudden death are or

co'srse racurrina the . co throughout ! Icnr neon' a poetry.

239"

(xli) The Fox, the Wolf and the Codger

he Pt: º2 the Vio f and the Ccdcror, re#ro C i'Ch, writing of 17

stated: 'tha source of this table has not been traced. '1

HarToi ºsao3, in his first edition, repeated this ascertion adding

'Protaueor Bruce Dickinn ouGg88t3 that it may be an elaboration

of the Bestiary Story of the Pox reigning death in order to catch

carrion crows or ravan. '2 Gavin Bone pointed out hints of our

story in Caxton' o The Histo: l of Ro: rnarci tht, Fort and su atoll

that Hcnrzcon nc: ýl? n: ed euch hints to inc; irc hin. 3 Lctoly

David Z. Croarne Lac accepted this au4c: ation. 4 In his acconl

cdition5 ücod claimed that Henrfson's story is a combination of

two opiaodes from the R2, r. n d Re: nar, t that in which tho Fox lay

darn as dead on the road, was thrown on to the nerct nt' n cart

end there ate the rich - there is no mention of a Wolf - crd that

in which the Wolf seized a bacon drop; cd by a labourer chasing tho

Pox, who hrA feigned death; the Wolf 'later refused the Fox hic

chmrc. But as early as 1895 Diebler7 noted what seeng to be the

1. Fes, OD. cit., It 30 9 note to 1.19144. 2. The P ggs and F01.18--of et Nan (Edinburgh and London,

1-933b p" . note ; to lo 19529,3. 'The Source of Henryeon'e Foxesf nr4 Qrdger',

,, x (1934), 31920.

4. 'A Date for the Composition of iienryson's a cam',, OD. cam,, p. 5814. 5. f2as ark, Ys 1 s, GDS, p, xli. 6. Roques III, I1.12933-130961 vol. v, pp. 1-6. Roques XVII,

11.15220 ff,; vol. v, pp. 67 ft.. In Martin's numbering of the branches these stories occur in branches III and V. Wood's reterenae to 'hultitme uventuret an 'vingt quatriame aventure' appears; to be derived from the numberin- in the modernised RR tj, texte de Paulin Paris rcvu, uugment6 et annoti per .* de ouceult (e. l. , 19149).

7. )snrisone's abeid�ý, }tt , 4D. i., pp. 64-70. He referred to brT r&no e AT ror this la the tenth cpinode in ttion's edition. : hrouahout this chapter I shall use U6on's edition for this branche (see 11.3919 ft.; vol. 1" pp. 147 ft. ) dined it i© the only edition to contain the full versions- as yet Ro, uao (Continued overleaf)

2I0.

calm source - b: onaho XIV, of the R mp cie R+-nnr , --where the

story 13 tol: in full* Janet ßalth noted Diebler'o reference 1.

But botoro I go on to cxuaine flonrycon's poem Sn relation

to the F, -, Mn do Ttcn'rd sttor7, I must made three, provi$os" Fir9tly,

In at least one piaca,, Henr'. eon. ic closer to brauche , III than to

brancho XIV. Diebler pointed out these alailaritiea. Henryaon: 2

And with one mrc : he (the Codger] dang hin [the Pox] on the creillie (126)

... And with his teith the otoppell or he [the Fox) stint, F'ullit out, and egneLthe hering ane and one Out of the croillie ho c nkkit doun Sude wane (129-31)

Branche 21St

Cor lo panier co it edam, 6i en a . 1. ouvert par sen: Et ci en ' a, bien le cf: chiez blue de xxx hrArane aachiez

113017-20)

In oov. rsl aanuseripts 'par Sens' (13018) appears as 'as (or 'au')

dens', j3 providing a. parallel for Henryson's version. At this

point ßrarcho XIV . reads:

Et-1i charretler 1'a ohargü `Ci°1'a covert d'uas banastre, ...

... Et ci I croft un panier Oil -il avoit bien d©uo millier De hareas frb ss.. 4 bone astraine UsnEiö`ea a une dozaine Twit quertot of Is ventre plain= (3982-9)

Cocondly, tLough the hint from CActon cannot be ragcrded as the

sole source- If it be u ßourco at all - it poses ccveral important

problss a. IsanEriz had co=plainsd to Noble of Reynart' o beh wSour

towards him and asked for punithaent. But Ocymbart the Dassep

hac not publichai brc he XIV and tho nanusari pt'used by Lakin ... 4 contains the latter half only of the story - he adds first

in his textual notes from M$$. used by Mon (iii, 529.9 ff. ). _.. The Py`. ngh '3pr`m rýn1 of '2AQt. Sc: o T. 1, -ý.. MI tm rntcsýiºý j öýs 1tý

2. " Ienri onutn FEtbei 1chtn e, op.,.. c ., P. 66. 3. ties 't=otes Critiques et Varianten', Roquoa, vp 80.

24i.

Reynart's nephew, defended him telling of Isengrim'e behaviour

towards Reynart $

Yet wil I tells some poyntes that I wel knows oar not yo row yo zitsdoled on tho playa vhiche

he threte dour fro the carre when ye folowed attcr fro forro And ye eta the good ploy c ailone and gaf by nomore than thQ grate or bones Qiicha yo cyght not ate yourself.

Rc hwvo hore the onno eituation no in He nrycon's poch: the rox

on the cart throwing down rich to the colt. row in the emn

do fU'r 2 varsion3 the Fox had eaten hie fill (uno douzaino,

39e8 end 4008; pluo do zax, 1302V) and carried awry one (3998)

or noveral (1302L& ff. ) Eich - there is no mention of hin throwing

rich fron the cart, nor of the Wolf rollowing behind. Caxton' c

version in as wo have coon a translation of the Middle Dutch

R sr _t r_the section in which we are interested occuro

In the first parts taken from Van der Vom Reinagrde' which is based

on bru.. che I cf the RoMM dc R na . However, though ßrymbert' a

s? noch defending his uncle is to be found in the Roman d2 Renard

thorn In no mention of this incident there and I have been unable

to find Ito origin. If there were an original ctory which the

writer of ycn. der_ Vou Rotmord e uced did fienrycon know it? If

he did he has r difie i it conaiderablys the fich are plaice, not

UenrJcan'c herring (or the herring of brancho XIV)j the Molt

retains the rich which Reynard had 'earned' lcnr7ocn presents

the Fox as no , innl]y 'corning' the rich for the Wolf but eventually

taking It a1S. IP ! Ion goon know this poutulatod originsl he hoe

changod it to rossmble more clocely branobe XIV , of the onan 1 rr

^nI in uhic: h the cccord trick allois thu Fox, not the self,

1. e. 1. . tirbcr, , pp. 7-8.

24w2"

0 abscond, frith the rieh., Alternatlysly, baa the story 98

biatId at in Canton 'inspired! , üanrarspq;. In hie r0lºor ina of .

the

Ro*sn de Rensrd story? which leads-to the third proviso I wish..

to makaq An we shall savlüearyso4ls sooount merely-follows the

outunea of the story told in =branaha; HIV of - the Roaan de F Renard. -

u of the -details are ditterent# soae even of the most,, Important

AToAta"

A stu of t these.. three,, provisos forces -us to one of two.

conclusions: either HHenz' son used, some source which X hadre been,

unable to tUA or he has, consciously or unconsciously - for the

story say have been written by recall rather. than by working with

a text - revo*ked_the story considerably# using material tro*

other versions.: twe, ass.. fýoed. withýs, siailar problen as when. LLz dealing with IDA Tyra - iüºis" With Iienryson! s, undisputedý talent for

ýrecroatSon'jn. alnd;. S, should probably, suggest , the,,. second. - alternative

to Ds. sore likely but.. l must stress the. very; tsntativs: natureot

this suggestion.

There. Is, ano Uwr . point -which- snot 4be , rol ood. betore, we.,, oospare

U. ur , on' o.. po a with-, Uwý AMn do dg ienarýd. Bauaare. pointo,,: out ýtbat

this fsble ie Term like, afolk. tale ! wbiah hes been in-European,

oral tr ütiou _ since -. before ; the Saxons r settled in, Germa º But

sgsin, '" bare., literaryt, eridence whioh is. ae -near Xonryson! p, poea

as the, talk-ta1"., trsdition. --. Tbg, Question, Wust be lernt open of

1. 'The Folk tale and oral Tradition in the Fables of Robert " Henrsrson' - 1S. . -The -taletis-type l ýin''Jý. ''Aarne YY

a, a classification and bibliography tr. t nd ar Y- pson, 2nd revision (F.?. Coamr mi- oations Vol. 75i no. 184v Helsinki, 1961).

13.

course but, as I have constantly implied, one of, the chief

iapressions of Ilenryson is that of a cultivated literary artist

of wide reading. The wish to ally his, work with folk-tale sources

(to that to see it as, popular, rustic poetry) would sees , to be

part of"g recurrent romantic tradition in nineteenth and twentieth

century European criticism - we-see it for. exasple in the study

of Bsow and the R , an de Renard - which would wish -to

democratise sediaval society, which in basically anti-intellectual

in outlooks a study of the psychological basic of euch criticism

would prove of great interest.

go can now proceed to examine IIenryson'a poem in relation to

branche XIV of the Rotte Is Renard. Our stogy there to part of

a general episode. eoncerning therelationahip between Renart and

Isengris's brothar"Primaut. 1ýJRensrt .. discovered a box of communion

wafers dropped: by a.. priest. , 8e. enJoyed-sa`iug. them and gare some

to Prisaut. wbo happened to Gone up. , Priaaut wanted sore: _so; the

two animals. planaed! to oelebrate, sass. stxa. local, church - Renart

tonsured his oonfrire, _dressed°himin sass vestments and. suggested

that bering the, church ý bells. Then -a the ý Fox ; escaped beto : the

priest vase and- sus owed, bis . pariahioners to waylay the 'dev11'.

Primaut was. beatea aad4blaaed Rsnart butähe# as ever, convinced

the soll of. his: innocenoe.. " The twos"animals sold the vestments ^, `, .ý.. `. ',; *ý C6,;.. .I.. i tý .

to a priest who gave this 'a gosling in exchange. When Prisaut

refused Renart°his share, he. case swa. y, disconsolate but, seeing the

fish serchantsq, be=sav hor to, ease his great hunger and so the ß äa

�3s : . 3, " ^r'w' '' g

story as retold by Uenryson begins. .w.

s ýd z, y ...

%o^, i - .. a i: k-+" +/

.i...; ä. .,. A.:

,__.. au M$ w*. '3;

.s8

.. -i , ý,? »,,,

a 'ts }na 1' Ai

Wie; »

pfill.

The`tirit seventy-seven°llnee, which are not to be found in

thie 'context ` in the floss 4e "pew, wen to be maäe ý up from a

composite of episodes in the Rod d Renarrdd'and ohmraoteristias

ot'the ? ox used In otb*r fables by Henryson. The episode

obrioila]7 "*sp1ifiea the moralttaas

And as the Fose with dieaiaulanaeo-and merle Gart the Voltf vane to half worschip for ever, ficht awn this warld with vane Clore for one qub 1e Flatterig with folk, an thgq suld failya never ... (267-70)

The nearest parallel is to be found in branch* V of the fl rya . Isengria Beets Renart and threatens 'vengeance, tor the -way the Pox

had traatird his-faai1, V. £os

Re rt entent of(= li promest, Is, queue entre lea gambes met,

Ter son onole eon -e'unili" of doucement moral li cries 00nolss, fait-il, Van dit au plain Nus n'amande s'il ne mesfaitj 80a. amande'a on-loist'renir# feral is Too a Yon plaissir (15187-94)

But Isengrim rebuffed his pleas attacked and almost killed him. #

The dolt, thinking him dead, became sorry for his action; Renard

soon recovered, rebuked his enemy for oppressing the innocent.

Geeing a man oarrrinR"bacon, t1attoring' an ` crj fty 'aý {evYri ýbo

ap*Oa2 oa' to i sangria' s grled iA, }. _. .

100acels, diet-il, laiasier a'aler, car maus roe porrois aaouler dou`grant baoon a&oe rilainj' Oago it et yore at ä deaain j, Quo ý voa no terles de"toi of 3e, voa on afi=*a toi, ße orendroit ne In Toe rant,

.. ý; Ci=roVE rairs'ýºos`present; .ýý. ., ý.. a.. dort porries faire vos ploiair,

''de-aon-core _oV tot vo"desir. 1(15227-36) °` :.

80 US Fox vent ottt, "to=feign death as rIh described` earlier: ° y1e

have here perhape"the g. riot *the'"idea; °-, but"Yüeniyeon"portr8 is

2145.

also a long verbal dispute between the two cniaals ' this dispute

has asny siailarities with other passages in The Fabillie an we

shall see in analyzing the flattery and deceitfulness, of the fox

eM the Wolf's response to these tricks. The poet shows us the

colt living in 'ane wildernea' (1). Perhaps there-is some

significance in the interpretation in Thg Fog. the Wolf- aM the

flu gk arAsE, n:

The wodds waist quhairin res the Wolff wyld hr wickit riches, quhilk all men gaipie to get (211-2)

He was a 'revand Wolff (3), thriving ('maid him weilt to hair',

Z) on what he could thieve ('purohes', 3), strong and merciless ('Res nano sa big about him he Wald spair', 5). And he enjoyed

being flattered. The first characteristic of the Fox - we should

perhaps constantly remember that in the moralitas he is the world

to be mentioned is that he is an imposter ('fenyeit to be schent',

9). He 'bad the Wolff Lude day', we notice, with 'one bek'.

The Tolf was glad to sea hin (12) - to see the world. And, in

princely condescension has

firne loutit dour rund tuke him be the hand 'Ryes up, Lowrenoe, I lair the for-to-stand' (13-14)

We gust coapsre with the behavious of the Fox, in The Fox -WA the p1ti

SC

Geared this wolf, this wylie tratour tod - on kneis fell, with bud in to his nek weloo. e sqr ; tsi stlry fsdir vndir god - q he with non binge and aouy-bek., (37"60)=,

Them too, the Wolf enjoyed being flattered -(11.71-2)&-, The Pox

in The pox and the Cook also fell, to his` knees ý- to flatter (37 and

177. In both these fables, too, " the Fox `constantly 'addressed .""

the colt an '$ohir'; in our fable be adopted°ths same practice "s

ý� ý .. .-y, .< ,_

2146.

(11.199 26,31,38,50.61,73jo 92# eta, ). A good4netanoe of

the aetWd Of, 'debate' - RbiQb, it suet be strewed, bae mar $,

"tailaritlee to that, in the asn , coq'Ren*rd - is provided by the

fifth stanza: 'xis!, - (gvod the, Wolff),..!. throw buckle tanä, throw brace, Law can thow lour to can to thy Intent. ' '6 ' (said the Fo=e) 'ye wait well how it gals; Ana long apace ftra thane they will fe111 my cent, Then will; than eschaý, Dl euppoie la ildi be schont; And I as sahasetull tfor to cus behind theme In to the feild thocht I. suld aleipani find thuae (29-35)

Us mcy note, first, the literary nature or the arguments the

phrase 'throw buckle and throw braise Is found several times in

Henrycon; 2 heavy alliteration is another chnraoteriatio. 170 note

the Pox's technique of flattery - the 'Hchir', the appeal to the

Wolf's own reason (ye wait well how it gals)# the attempt to show , "a

himself virtuous (I an schamefull ; for to cum behind thane).

Again, the two latter-. techniques are found eleevherei , the first

in, tor. I asten., The Fox a tht Wolf (11: X-97#'1105 , s, the ý; °-ý

a coz d Ln `ror, °lnstm ce, ,

Q? oxw the `WOli ° sM Lhe Huebi mar ,`-.

(11.89,118-9) "r£. Butý in4th1s ease$. the t olfwrealized the Fox'®

plane le, . gianee ° seýree, _ Saleet)= later, he wereiblind to the

most deceitful, most, harstul trick; or ¬all, , He, tlike_. aany of

Sanr3ºaoa! a,, 'aharsatars1R -. alten, blameworthy ..? rresorted to iproVarbst . bot; all t) y a. nyee sall: not ayaill the, -. £ Fýý. > «ay: i n; About the busk with wayis thocht thow w 2nd; Falset will tailye ay at the latter end To' bow'at

tbidding and bydenot'quhill thow,

-breit

1. The, original reading, hers way have been )'sohaip' allowing perfect scansion-aMM effective alliteration. '

2. Ct , 22te '`ýra lt , 1" thiWolf

-the 'l. 117.

3. Hizu son uses, this agäinin. T 42 Eg& - moat 1.: 172. L. 46 t©o. althea&h tI : kor of : no -o ier ; parallel In ddle Ali ah literature, was alrost certainly proverbial an it is now.. fie should I note -the -frequencyot `, alliteration in `auch proverbs thie'tenture woe part `of their `&emorablenea®.

4. Good (Poeme and Pnb jqs. pvt !. p. 21i5 note to 1.1998) noted the occurrence or a similar proverb in }'ergunson (1641 edition) 184.

247"

The'Fos used religion for his own ende (50-2)ý the World often

u religious. Of course, he emphasised, it it were not Lent

he would serve to. the best of his abilitys 'To betr your off lee

than Bald, I not set by' (56). Hut r the Wolf was not to be--tooled

not as yet, anyway; again be found & , proverb to help him to attain

his ends:

'Than' (said-the Wolff), in wraith 'wenis thou`with eylie And , with thy - cony sowie me' to sat? It is ane auld Dog, doutlee, that thow beýYlis Thou ewenis"ýto draw the stra betoir the Cate (57.60)

But the Pox's feigning, and pretended= subservience did not fail,

his: he elainod that if he had meant to trick the %7olf he deserved

to be hung-(61-3)t as'etatement which both-flatters and pleads

innocence. Again he 'professes subservience and apparently

capittulates$

Bot nom&I as he 4sinne Eule; perray That:, withxhis naister'iallis$in reasoning (64-5)

Here the Fos, Yes using a -walk! point for', -his Illegitimate purposes

as the Wolf did in"Tht Poxthe Wo ' ut ge tiusbjMen (11.36 ff. )*

we compare the moralitas of s holend the Ved er:

Thairfoir I counsell sen of everilk stcit To'knav - thane self, sM quhoae f thay suld' torbeir, And fall not with their better in debait (155-7)

Co the Fo: g feig ing, promised complete service (11.68-9: 'in all, r..: 1..

a ;? Za: ý«ý, EO ý#äa.. "i º16j E, �l: C" t> "t "__#. ý,

ä. _"

ä`

,. " quhat ever, ... on nichtis or on dayis' ). The Fox pretended r r, Y.. m..

l. ý`2001). 1. ýTood a and : 3f 21ý. l; 245@ note 'to compares e¢ passage, wien .. ex rant. -hequotes, from_. Hsrwood'a

- with' Yorgusson R (1641 "edition) 904; -*with `Chaucer's us s ll. -1783-5; . and:. aith clines, he quotes#fron, a.

n rn ty College#-Cambridge^(o: ý"1260): Such comparison reinforces the concept of. Henryson=ass a, 'literary *ant,. - g adapting his material fron"other'literary"wourcee rather than from 'observation' or'imagination'.

2. - to, od , (fig _Li äQ Qý, ý, " 'D: f 2? ý5 ýý inöte ýtö 1.2010) refers to Peergueso 614

e ition) 519.

248o

annoyance at being required to, take an-oath; the swore truth till

deatb# by Jupiter - he had earlier been talking of Lent. In

The stops and ! addork the Paddock also, after earlier using

Biblical examples to support his ? reasoning'# swore by 'Jupiter

of Noture god and king' (93)" And the Pox egale used proverbs

to further his interests:

-For he that will not laubour and. belp him seltt, In to thin dayio, he is not worth ane tie; (94-5)

Go in this added Introduction Henryson has shown uo the wickedness,

the self-importance and the self-deceit of the tTolf, the flattery,

the pretence, the tricks of the, Pox. -

se join here the tale as told in branche XIV of the E2man

Come of the descriptive details are similar:

81 cheain se net do travers fei s'estoit `couchfies -l envers f: F: Et prent lea dens & rechinier Por plutost! la Sent tenginier., Ci a son balevre retret Les sulz clot et'laalangue.. trett. En l'ardille Bleat toollies Taut que*i2 estoittos soillies: A eerveille reeseable port, ... (3951-9)

Uenryson mentions the Fox's tongue hing out (lane hand braid

oft his held', 104) end; his'-apparent death, 'i But=aany dotaile

are differ *nt a-= in'Iiearyeon's poem the - ehites ý of the eyes are

turned up rather than the eyes closed, there is no mention of

rolling in the nude In fenryson's version there is but one merchant,

in both branahe XIV and branche III, two. In the account of the _

1a d .. - ... *Nw .a Kf=z sw e. 3 "t

theft of the bacon, and in a rather similar story in Jacquemart

Qiäldd' i hRenert IS o vel ! in which Rennrt findshimself, after ý. ý.

'a fit i. _n, .., ýe"E, ..., a.. 4 roiýý_ý sý.

a iý 'i Eý s. ̀., ýý: E :

-.. ý 'ý

feigning death, tied onto a horns next to the boron he desired

1. ed. U. Roussel, oD Was ii. 3234 rr..

239"

there is one rcn onnly. But at thle. point theßae two atorioaM

are so rar rca ovcd from l: cnr rcon' a- cn*L from the tzo closest

versions in the that Z. think there Is no question of

Influence. Perhaps it =or be suggested that Yienryson changed

his source to cult his aorelitea; there is but one Deat2u To

continue comprricon with Branche XIV, come of the , morch ant' s.

speech has similarities with that in-the Lars

At-the nizt bait, inxhalthp ye eall be Slane (108) 2ios osteroas oemprea is pal

-, A In pointe, de non-coutel Qant non eeromea berbergi6 (3979-81) Lt dient jaýn'en teront ei, lies enquenuit, a for ostel i:. x. veraerout In conele. (i33011-3)

I

But#nains such In dltterent - the perohanta in brauche XIV

cons1derod;. the. Pcx, 'a ýtur, Looä. k'l metre en surcot'- (3968); , they

plsrned to sill it - 'trots sole ou quatre de deniers'; -(3970);

jauch the sacs prlce. _is suggested in-branchs; III. - (13001).. --. to pcy

for their i; might's lodging. SA,, üenryeon! s; poems , the. -Cadger

ri she r Lo: i ke . of Lüe ; fur

. 'sittenule tway! 3 (109) an& xae adcmrnt

that he would., ney. r sells

Thair tall-na, Pedders for pure nor. yitt for -gluifis9 Nor yit ftor poyntie pyke your pellet Ma me; :I salt of it", sak mittennis to fir. =lufia,: =; >>. Till hall jw handis bait quhair ever I be; T1ll 8lsnderis call It never 120-4), shill = the j sa. 120.4),

Detail. -1 local_ trading custom. -ý- sakes the_otory; sore, relevant to

Eeary. oals; contemporsariess I, havs, alrsad r disoueseä this feature

of #äen yaon's style, In, connection, with The Ta r Mme, is . arA; jhe Q. -, , -

the 6aheiv Pi he ! ols Tb"re is; no specific mention, or-. tb4

Mrabant'e happiness in, the Hggg branche XIV; In branche III

2O.

wo find the gcaeral: -'ii uns a 1'eutre an fait grant "dole (3010).

flenryson, characterieticallq, in much more opccifics tho CadCers

... lap dill lichtlie about hi© quhair ho lay, And all the trace he trippit on hie tale As he hca hard ane pyper play, he gale (Ula-a)

Hcnrgsoa portrays the Cadger thinking of reasons for the Fox's

death (115-9)s reasons rhioh emphasise the Foz's'evil nature. - Wo`baTe already noticed the dittiaulties provided by-one,

differeaoe botieen It*nryson and the go, Ma4 in the deaaription of

that happened on the cart. There ie 'another difference- in the

other versions th© Pox ate his till, then left-to the merchentle

astonishment= Honryaon's Fox was surprised in action (134).

Lowrence's e; each has several differences from Ronart'a in the

ra versions: . there in xo 'aention of the feet 'that he had dinad

Well (Cr, XIV i4C03.10). : he Fox boasts that hio fur will not be

Made into mittens (142-3). The Fox'© advice to the Cadgor to

call what he has left (145-7) bmay

be comparod with Renart' e$ "p Ä. týs

<, ". . slt^ fs7 irtäl tM ýV'J ...

ý, i'f: '''5: ý i* '_ 'r

'Jo Too lax tot le re=rasant' (4011= cte also 150148)* ' ", ý' bb? " är ;

,.:. ", I'' , r-'- r -, f ý-.

1s "_ et

In branche XIV the Fox returned to Prinaut who proolained

himself re,; cntant for his wrongs to Renart, and hungry because

he had been robbed of the gosling-by Codeart: 'Renart gave. him "-. d . n..

# v! -

.L lea r .ra..

4'v. at. .,. :. s. ndX

4 ..

t"'r x

the one herring he had brought away and this erhetted the V'1olf' Vlý

appetites he ac:; ot Renart how he had obtained the fish; the Fox

inforned him without flourish. In our poem the Fox found the V

Wolf by the board of fish rnd employed the same flattering tactics wd

as previously. Co 'Cchir' (li. 15T, 164,166,169,174,181,199); sa , Lt r"Z

4'a'ß.

proverbs or proverbial type expressions:

�ý. 44I a .. ý. .. w _ ,, ki iresclý ä4 -r

`1

251.

Ane wicht man wantit nearer;, mid he ier ies W Ano hurdle hurt is hard for to suppryis (158-9);

appenle to the iolf'e judcenents '"8ohir' (avid he thnn)"maid

I not fair defend? " (157); appearance of reliance upon the

riolr: '6chir' (said the Force). 'Ood wait, I wischit you oft,

. Quhen than any pith aloht not beir it on -loft - (17th-5);

apparent righteousnesss he claimed that the. -one herring would

'be fuchs to us-=thir fourtie- dsyis'° (170)' and promised-to-say

'In principiov on tho golf and to make the sign oP, the cross.,

over his (204.5). The Paz also had talent for appealing to the

Colt's greeds fi ýI It 4s ens syde off nalzond, -esuit . w. -ir, Asks, callour, pypand lyke; ena Pertrik Le; Wis'iorth all the heringtye have-chair, Ys, and we had it sera, i" it vorth aic>Lhre (176-9)

go reiezber the Foict e äescri'ptiöriof the . EMD si@

*0 } iw*J,; 4 A ti`s 'A. 2`

The Foxt .%g

Wolf and 'th2 `ßüsbindmin, for

the Fox took oath"to echieýrö h1e eAltss .

. 'cheeäel to theolr in

e1m31cr, purpoaeo. Again

'ewore`'eüiLh1ieý `'T(2Q1)

ho ' fuaranteed that the-*olt&'sell de na` auddaäd `dilth'this days `'

(206-7) for, äe the =irora1itas ezp1iins - :. -

The warld; -ye wait; "is Stewart''to . the man, Quhi1k. makie_ ban, to haºit no mynd of, Deid, Bot, settis, for'xinaing-all'-the `crattie that' canj (260-2)

In the Roe n thotFoiýdescribed his ow&acttons, 2n''our`poem' theý`Fox

gave alvlce, for the loll was completely, subject to him (he worked

after hisy 'o ounsell', >180-1)= Lowrence's advtice was ot, course

.: x +>

ti=+. r {

~¢r ... 1vR '-ta $' kr ',

wiez -P >3 =A *sü-

related to what he knew would happens 'olole wohl your Eno tway'

(186): aadk! luke.: rour Enebe'oloie', (192)j 'thocht ye se ane etat,

have ye' na dout' x(190). "'The40i lf-d1d: '-'äa -the ffoxe, him baal (213)f

later he forsot 'the Foxe and all his wrinkis' (217) as the thouEht

252.

of ! the NekherinzI (216), "the huge azount-of 'Cold sa: reid!. (263),

blinded him (274) to all dangers.

I .- in brauche XIV of the Ro, the merchants caw the Wolf-lying

and debated aaon£at theaselvee, and with-others,: who Cane up, whether

be were dead or not. -A blow was struck. The ITolt did not move

but wiL*pered slightly and one. oftthe *erchante, hearing this

drew b1a sword; tbe eight of which, put the- Wolf to flight (4168 ff. ).

But oar Cedgear was thinking bow tofbe avenged. on tho"Pox so

'Bat gift he lichtfit down, or nocht1 God wait: ' (224). Flenr7©on

streeaee the Wolf's, euttoring, the trials of thorn who are blinded

by the world. ; The -Roman: Moult act iriez, roult cat. dolanzp Bien eat batuz por lea Karenz

-Mont il cuida avoir-an part (4232x3) ... Quhill neir he eronit and swelt in to that ateid

Thre battis'he burs, or he his felt nicht find, Bot yitt .. the Wolf res. wicht and wan away. Fie"mycht not se, he wes ea verray blind Uor, wit-reddilie quhether, it wea nicht or, day.

... Ilaith'deif and dosinnit, `tall swonand 'on his kncia (231-8)

The bliudniis Isöf courseäymbolic as

well 'be literal. As we are

told latert `Vs. *10t , of =gold , orakle moäy men oa blind' (27k).

Uenryboa again -atresaca the Wolt'a sufferings

The Wolff =wes flair weill' cgungin' to `the : deid That uneith7with his lyre array-be swan, , For'with i the =Dastoun -wolll xbrokin -wes his held (216-8)

.., The utheris ýblude' wes rynnii `over-hie heillia (252)

Our Fox laughed, characteristioally, 2 and made away with the floht

the Fox in the had welcomed back Prioaut and eventually yw4{ os

1. Cf. - Chaucerle! ero2ýan 2. Cf. -, r- rill. '99 and 125.

253"

flattered hiz in to acknowledgment that he had not cauaed the

mishap. The poet's moralization of 11. ý 239-1O0 is of course

conventional in natures it echoes for instance the traditional ,... interpretations of

, The Fox, the Wolf and thefuebt}n 3n . etQrY

I quote when discussing that poem.

Henryson then has used the story: verr treßly, it ve allow

that the versions, discussed, are his sources. He, has changed

dotails, cade anno considerable additions and rounded out his

'charactoro' in, rays which are-characteristic to him, ways which

czcmplify the noralitas: the apparent goodnocs, but the real

fickleness and transitoriness of the world which brines blindness

and pain to troco who trust it. Thus we act how the story

reemphasizes . ghat -we have coae -. to see as the underlying theme of

The F bimst the folly of worldly goode, the reliance on which

brings pain in this world and the next.

The moralitaa teems to be Honryson'n own though the interpretation

by 040 of Chariton' of a rather siailar story is interesting:

Diabolus eat oizilio uulpi, Qua finxit Co aortuun (& jg) et eicit linguam Descendens auis, crodcre capers lingua=, of capitur a uulpe Cia Disºbolus, quasi tingene se mortuua, quia traudee elus non uiderimus, pulcraa uuliersm, uel aliud illicitur nobis (D) ontendit; quam qui illicite capit et a diabolo capitur.

And of course every detail Is traditional - the emphasis on the

fact that all must die; the folly of trust In this world. Chaucer,

1. Hervisuz0 IT, 303. There is a copy or this in the collection of exezpla in D. U. 3i2. Harl. 32144 role 80b.

254.

In Troilus enA Criee, d' , speaks of 'the blynde lust# the which

that aar nat laste' (Vt 1824); in Thef9va11o%v _t

ONE 13 rd1s

Hen39soa speaks of 'Reasoun see blindit uIth aftcctioun (285) and

in prnheus rrd Uj2dice or, worldly men 'blindfit' (388,4540 641).

The Twn Upis speaks of the 'blind. proaperitie' of our poen (1.278):

grit haboundanc© and bll&Q i aft tymis aakls ane evill conc ue oun: The suetest lyfo thairfoir in thi© cuntre, Is of sickernees with small poesensioun (216-9)

Te Pox. &e W2 1f and the flusban4*an warne aEninat 'wickit riches' (212), for 'Guha traietie in ate trueterie ar oft begyld' (213);

The Co . )A, Ihe well warns against worldly riches and points

to true richest 'science' (137):

It In the riches that evir anli induro Quhilk totht nor rat ocy pocht rzat nor ket and to Canis eawll, it-ie leternali 'meit (138-110)

ý.

ý sF P _.

ý' ýYc

.rm_. WakY s'ý t

.ý- ýý ý-3. yýýý.., ý, r

4;. ` ..,. see q_"=' a +t a

., ý.. a. <

.. _.. o- .. - e4 x.. r r'- i

»ýt

x sýý

.- .n vý. lý

p

<ý,

255.

(slit) The Fox, the Wolf and the husbands n

Th© origin of the story or The öxm - h, e: lr tba ý�3sb t,

AL least in the Zest, is the Piecivllna Qlericalis of Petru©

Alfons. This works, written in ßpain at the beginningKof the

twelfth century, comprises tales told by a father for his son's

instruction; it achieved a wide popularity in the following

centuriea. l There is a thirteenth century French translation,.

14 av o ent dIMA R £e eon tile; 2 its version of our fable

le close to Petrus' original and most of the differences are of

no olgniticanoe for us. ' Steinhöwel included many of the stories

in his collection despite the fact that moat do not concern aninale.

Ulu verslon3 varies considerably in detail from the original-text,

but as-far-on our story is concerned-there, sees tö' be no'ditferenees

which would suggest that Henryson, used, one rather than theEother.

Caxton's verelon, ka°eoaIng fror SteinhSael through itachaut's French,

has several differences °fom other versions of the tale.

Giailaritiea between` these elteiatlonst"ii iL Henryson'e text suggest

that Caxton is a probable-sösiroo for="ourý. poen.

The 'beat evideneer'eoneerns 'the episode' in which" the: Yox,

ascending; *end the=Wolt, '-deeeending, {meet-a epeck in aid-wells

1" Bee, for details, 'i'etereinceeiteii öiiýp" `11. ii '1"

2. Published by 1. £arbazan, F8bl eu e Contes nP to xT xi , Lad odn.,

augment e at revue U. M on, 4 vols. . i'arie, 1608), ii, 40-183. The story in which we are interested, NVilin cui done-§U bue s inn, is printed on pp. 144-8.

3. öateriey, gD. ell as PP. 316--9. I quote the original Petrus fron hike and Uoderhjelsh edition, Qcait. , pp. 334-5.

4. ed. Jacob, gg, ii, 276-89

Zss. Than cngorlio °the Wolff upoar him crsrias 'I currand thus dounwart, quhy those upiart hylo? ' '3chir! (good they Foxe), 'thus tairis . it off i? ortouns Al Ana corms up, ©cho quhoillia ono uthor doun'(166-9)

Caxton: N

^4 e

mA than the wrulr cave the Foxe comynge vpaard he aapd to byr Uy god s. AB ye goo hens thow scyat trees ecyd the Fox For thus hit Is of the world For when . one oometh doune the other Both upward.

There is no equivalent passage either in Cteinh8wel or in Petru©'

originals the French rcadat

Ainul con 11 s'cntr 'encontrcnt Dont 2i dint 11 gopil:, beax Srere Alez voc f==aires monger Tont vom avon tel desirror. (99+102)

1. Ct. the story in I en d4 RQnar brauche IV (Roques II; vol* ii', "pp. 1-15 in which Renard, -trapped in a well, tells Isengria of the firh in hia�paradiee.

R Ile confesses the,

wolf who gets v into the bucket. In rid-wall they 'rants '

1än r3ä iä iräison , "Renart" bias, frere, ou va tu? "

k, Et Rehart 'li a rospondui ` "N'en faites ja ohiere ne frume blen voa 'en 'dlrai 1a-costumes `

arý ýquant a1i, uns ýva, 1i , autrea , vient,

o eat ' 1a ooetuae'Qui` 'avient `(3602-8)

This-point was first noticed by Diebler, H_enrreI k pp" 72-5; he also pointed to

a siai ar ybetween ,

icuryeon 11.222-3 ar4

ae voia en pära1le 2äist1e' 'r tu gras ou puls d'enfer 1aJus (3609-10)_

7

. .+Z. -- --, 1' #

'. -.

--e,. l

,u4,. {! -a, -,

t'_I ai., ia ac

.., -1 Y.

a .4.... .-.,..

V#

257.

There are several lean positive points ct, evidence. 'In- Uenryson's version the °Labourer becomes angry because bis oxen,

who ware 'unusit, young and licht' (10) 'for lersnea' did 'the

fur rtortair' (II) l Caxton: a labourer 'wgiche unnethe r. Qrght

Louerne and lede his oxen by cause that they cote with theyr

feet'; Petrus: 'boves illius recto trumite nolent inced©re'j1

the French: 'Li beef ne volrent droit aler' (3); ßteinh3wels

'bores ... arando recto lncessu proticerent'. Caxton'o

explanation of the reason for the Hucbandman'e anger soda co owhat

nearer aenrysona than thoao in other versions. Ageing In

üenrysan'a version the Rusbazndnan ackod for a vitneea (148);

Caxton: 'S projneä to the nought at al in the presence of whom

I am oblygei or bour4'. In no other vornion is there any hint

of a witness --even Ccxton'a version is merely a hint as we shall

sea. Again, iienrjson states that 'The schadow of the none schone

in the well' (162); Caxton: [the Foxe] 'chewed to the Wulf the

ehadowe or `the `none!; = Petrus: " ! Cul super putoum etanti rormam

lunas e asaiplena = ia'iia Ä putel radiaiatis ost. ndit'° et inquit i-,; *; --

Li gop11z 1e41su"apela# -, , nu ., ýs Et dedenx le pule li monstra La Some-de'la-Lune-plain, (6749) r"

Ctein1i welt 'z gat" ra r puteo -atani =(uulpusj =1upo lunssn-in -putoo

retleoteateý rsdioa-`ýýteuciit'. The use- of -the phraie I sohsdor

or the' v4ae' £ perhaps EITOS further o rldeno" rar a -°12nk"between Caxton t*g tle: ýr e n...

1. Oeitb Qooiti1;,. 34_"note". tºo 4.9-2233 pointn to thlo dir res.

258.

There are however points-to be round-In pother. text. t-ln US U7aon but not is Caztoni ý ,;, >;.,

Thora lrchtlie in the bukket lap the lounj . Rk Mg e wacht but weir the uther end gart ryin (103-4)

ßteinh5wels 'tupu© intranzi guia craylor erat vulne, deacendendo

aliun fecit urceolun cum vulpe ascendere'j Caxton: '(the rulf]

cntryd eytbynne the other boket and an facts as he aente dour lard

the Foxe case tpwerd'. Though thin point may auggeet that xk yy[

orv

ffenryaon knew Cteinhörel'e version (or Petrus' original which tute the sane detail) as well as Caxton'o there can be no certainty

as the Wolf's greater weight is a logical explanation which

lanrycon may have Inserted biaselt. Again, there is one interacting

detail - vhiah Dieblerýwas the first to notice where the French

to closer to üenr'son than-ty° other. version. Henryson deacribee

the Poi lesdirig,. the Wolf, away in search of the imaginary chooses 'Than hand In hand thavý held unto : ane hill' (141). The French:

Li laus a gerpi le Vilein 01- s'. en. vent asidui. main .& swain, (ggý6) :

Atain, ithere, are. interesting parallels between. Henryson! s Version

wQ, a rather aisilar story In brauche IX of the Rosa} de Renart, 2

a branche which obyiously. derites ultimately from Petrus' original. It tells of a labourer, 7. idtard, who, cursing, offers the best ox

a. w ate" er t! 2"< ;d3; » ä<. a .i

of his ploughteam to a wolf or a bear. The bear Brunt near at hand, taken him atthis word. Lidtard obtains a day's"respite

cnd Renart, who has overheard all, promises him help it he will

give his rooster.: Rsnart:. plans; that;, hen, Brun comes he will

1. Menrisone'" Fsbeldiohtu, _nae, n, oRyeitr p. 72.

2. Roues Xs 11.9254 rt.; vol. iv, pp. 1 rr..

259.

imitate the sound of a °:. hunt -atwhioh Brun, , trightened, ° will run

and, be easily caught. The plan succeeds and the bear is killed;

but. when Renart coves to-olain-his reward he is chased by the

labourer's dogs: - Diebler pointed out- the parallele. ' His

first can be easily explained for It-Is a co ymon toposs

Ua boens_ aontierree& a' eat , ', la vroie -t Igoe teamoigne l'estoire a orale (9260-1) 11 avint enclene*ent 8e l'aventure ne nos went

: qulil aferde In aonte. a voir (9267-9)

äenryocas ! In elderis dayir, as Esope oan declair' (1). But f there are mors Interesting-paralleles the ploughman

. His use wea='sy in morning to ryse air; Ca happinit 2*ym in atreiking tyme off yeir Airlie, in the, corning to °tollow Zurth his fair (3-5) use via li eat qua il colt tart venue a tent an eon. essart; fi at a'estoit il au point dou jore ue" re; ºoa, . alas ne se jor, Ne duct a vilain no ne plait nfa a, are. qu'en°: aon }lit 'areet =, puls quo polat le jor veoirs quo_vilains: ne-sat , atae avoirs alas holt an autre euvre fore,

r -. Quo, =out -par- puet. vllaina; nsl ktraire4 (9277'86)

Also, in a� paaaaga touts: only' in the, saauscriptu used-tor l1done o

edition; A., g xt un-. gars qui.. avoc -lui t; t, T Qui las buss chzooit de vertu (U4on, 25465-6)

IIenryeon also talks of ahelper (a gadran, 6), who cried 'how,

k hflik, upon hicht' (8) and 'broddit thane full sair1 (9). Aa. L

as the Dolt, and the Fox lay in the bushes (16-17) so 'Brun ii Ore's

En uabuison avoit boti .

Le ool , st. les -pates ý. derant (9334-5) ý Eý :.... L, ,_

.» .i.. 1...

-Er. ,ý, _$ i, ! "k -b S` .4,. ,_. t

2. ienrironeýr ýbe1dLchý, ýý Stitt.. 1u. ß P" _73"

260.

Now the background of the two versions is very different, (anä

Hsar3reon's emphasis can perhaps be explained by the allegorical

significance of the passage) but the parallels are striking.

From the above discussion it seems fairly certain that

öenryson used Caxton's version; he may have known other versions

as well. In the following examination of the use of source

material I shall compare Henryson's work with Caxton's keeping

in mind additional points from other versions mentioned in the

previous discussion. The first addition sketches the background:

we are given a more 'realistic' portrayal of the scene. Caxton

had began: 'Sumtyme was a labourer xgiche unnothe cysht gouorne

and lade his oxen'. IIenryson describes him rising early (perhaps

this comes from the Roman de Renart) 'in streiking tyre of yeiri (4)= 'his stottis he straucht with Denedlcite' (? ). Further

detail is added - the oxen were 'unuslt, young and licht', (10);

when the 'Husband' became angry he threw his pattle and stones

at the beasts. Lore detail, a more thorough portrayal of the :

6, ' he. ar

background, leads to greater involvement of the reader/hearer in the action of the tale, an interest which can be exploited to emphasise the moral implications of the works this is a common

preaching technique. Possibly the emphasis on ploughing has

also an allegorical significances I shall discuss this further

when dealing with the moralitas.

There follows an important change: in the original the Violf

alone heard the curse and decided to keep the labourer to"his

word= at the dayts end he challenged the labourer, they argued, d. -.. kia4 Jsc K,

ý r" . gip AF

then decided Aa , seek arbitration. a: They met. the Fox* who, of ter

261.

hearing their, story; offered-bissalt as l judge. -, in Henryson' o version the Fox van with the Wolf when the threat was uttered and It was he wbolsIggested that the Volt should-oleo the promises 'To take gone bud' .

(quoll he)�ý 'it wer na smith' (19). The

reason for theächange'i" explained by the mora1itßes the Fox

le the ? lends ,..

-Aatand ilk sun. torrynunrychteous rinkie Thinkcnd thairthrov to lok him in his linkia (202-3)

17 Henryson odds further detailei during the day the oxen grew more

ruly (22) - the 'husband' thus realized their true value to him;

and he was afraid when he saw the Volt come 'hirpilland in his

gait' (25) and wanted to turn back (27-8).

The speeches are also extended to fora a dialogue. The

wolf at first offered no explanation for his demand; replying

the 'Husband' claimed never to have harmed the17olf (35) the

wicked rich socks to oppress the Innocent poor § (cf. 11.197-200;

and The 1olf and the lMb). The original reads; 10 thoi7 labourer

cry tyae" on this day Chow dydest gyve to me thyn oxen and therfore z -if 11

hold tly pronesse to me'. Henryeon'e Wolf uses yroverblalý >aa9x-ý' . 'ý. rý iisiw.

iý,, `# Ma. "t" "'"C , i-. ' , ýCA ', r`i'. >r ýl"`=,

. ý,

expressions We 40,42# 53i 55-6)p he appeals to the 'Husband'©'

own Judge=ent (1.38); these devices are also characteristics fI ZýV

of the Fox's speeches in The Pox an4 the r-olt and later in our

poea. A general tone of apparent reasonableness, of moral virtue is added; the wicked often pretend to act reasonably, virtuously,

'11rithin, the law (cf. T -'Doi-j'. - i"'' "T .w4

the Gohoiveý" the iölPY`t 'Thg iýfý

P the

4lib)taa"»i

.

+i

"..... ... e ', ° W°e+4uiý. '. i it v? &ý, Y Cr idea . r,. ... r ,{

ý... Car lop -calf ,.. thou uot`me thi''dritt Alnlieý; °qubenthou weeeirrand-on': Yone: baºahf

Aäd is thair ought '(sayla thou) free-than Eift?

262.

This tarring will tgne the all thy thank Par better Is treue for to gift one plank Nor be coapellit on force to gift ane spart. Cn the tredone that cumals not with hart (36-42)

(quod the'Yolff), lane Lord, and he be leill, That-ochrintis. for schame or doutis to be repruvit, His saw is sy as siakker as his seill Vy on the leid that is not lesll anti lurit" Thy arguasnt is talc and elk oontrutit, For it In cald in Proverbtl 'But lawte, All uther vertesis ar nocht Borth ane tlet (5O-6)

henry on. i dtaatea the different social ranks of his characters (of, 11.297-9) by this form of address. The tolt. (the winked

rich) sdärasses the °'Husbsaä'-na 'Carl', is !c iliarxWith hin ('thou'). The 'Husband' (the poor nen) is, subservient 0-his lord- ('8ohir', 'frs!. 'your').

So the "itnssaszao oallodt 'Lorraaoe come lourand, Por be

lutit never licht! (64). °- I think auch reference-must be taken

$imbollcally " therioralitas states that theBox°is the Devil;:

in The 8wa21o1 and�Qthir Hirdiý, aants soul in-likened to a bptt

which 'lurkla still as-lang'ao lyoht of, day. la'- 117); thS' oxp in TTbe t- Wolf hated the - light' (stanzas ,1 and 2) j; Renneon ý sets { the r evil court in . The Doe. ,,, he Cahei�n and the j7olfr

at night., The Drall . rejoices in ` the-works or' darkness; {, undr, - man is-atraid. ot himt 'The man leuch na thing quhen he saw that

oiaht' (66). }ry The =DeYil had already begun Ao 1-betray, his follower - .e. mo t'4kß re

he could hate: ected°as his witness;, but he', wishes--to-destroy on not help him. The oath (80-Z) is a further addition.

10 mood, - Fab tr r p. 2lý8ý notc to 21.2285-6 states hue

.e uaab e entity>. thia =proýrerb with aýr:. ln; 8aripture.. 8tearna, ,: 2n oiaaott, p. 120 states =! Needlean to: says thia:. pratae, o ra ty w ai ta in `the Bible, , 'as ° the * ftl!, would : have the Husbandman su»poas. !

,. *' Aut

there _is .z proof - that the lYolt! f, proverb , xN$ meant.., to is , ot biblioal, origin.

263.

, The Fox's conversation with the dolt a ie considerably cxp ed.

Ccxtonz

And the Foxe. wente and told to the Labourer thou shalt gyve to me a good henna And another to cy wit A :I shalle hit. soo make that thow with alle thyn oxen shalt trely goo vnto thy howe wherof the Labourer was Orel content.

Ienrxeon show$ us the Fox's craft: tho Fox stressed the boDelesc'-

nose-of the Husbandman's case but proclaimed his roadinoso to

help hia* ' -wald myself tann help the, and I mocht' (88).

He carefully created a favourable Impression: 'Bot 1 as laith

to hurt-*y-conscience acht' (89). He treated the 'Husband'

without subservience-('thy') but his tone was one of familiarity,

helpfulness ('Friend') rather than the superiority of the Wolf

('Carly)* - 4, dndi even when ý euggeotingn bribery ha was careful

to make it with a; peals to the Husbaodmen's judgement (ii. 92+3)

and, proverbial expressions; (93). 'Hero the Fos did not ask for

a hen. for his wife, t for obvious reasons;,, the Husbandman offered

several, of the best bans (of. 1.207: 'The hcnnio ar vark1o that

fro ferse faith_proceldis'), but wanted to keep the cook - there

is perhaps an allegorical reason for this detail too which I shall

discuss lots.

.. " For Gott is sane to sleip; as ttor this ficht °8ia small thingie ar not seas in to this sieht; Thir hennis' (quod he) 'sail nak thy querrell sure, With saptie hand na n. n suld Halkic lurel (102-5)

Again through a proverb, through apparent reasonableness, the

0b. _ ise, Olt-#, Po 248 note to 1 2335 it , 'Wood notes t ho occurrence of thIs proverb-in Fergueaon 1641

edition) 8779 It is also used, 6s Diebler noted ý so 75)byLyd8ate(

acCracken, ýi J 1* . 530 Led* Qp: SýI tt., 5771)

: by C ucer Reeve jrile, ILAJ "

264.

plausibility . ot wrong and the wiles of the Devil are shown.

But the Devil is false to all creatures, even to those who

serve his. The Fox adopted somewhat cisilar, tactics towards

the Wolf as towards the Rusbandwan, though he adapted himself

to the Wolf's superior . social position ('8ohir' #_ 'ye'), pretonding

to be his servant rather than the experienced mentor. and friend,

he pretended to be to the 'husband'. Ile 'plukkit him be the -

slsiff'_(108), an expression of confidence - and an, addition. by

the poet. Again a considerable: change-has been made: Qazton&sr

Pox says '2 haue we] laboured and wrought for the For , the labourer

shall gyre to the therfore a, grate chase *and late hym goo hose , vyth his oxen. '

... Again we are . shown . the Fox' a cunnings . he had

maintained that-the labourer had no chance of winning hin case;

he adylsed the %iolf similar3y1 claiming even to doubt the Wolf's

seriousness In-pursuing his claim ; (11.209-116)#_, Y sie had maintained

to the labourer that Yhe, could, notfact,, against hie, conºsciences

so beret

Wald. I tak -it, upon _aw conscience . To do u yureäane=man as yone"ottenoet. (118-9)

But in s; iteot these. ditsicultlaa d done what-he could

(trit h gir : V... -A2Oj - or. -'Yit , wald, n rse1r rtan. help the!... 88). The Fox stressed the value or the cheese. Caxton; 'a grate

chisel. nr, ions

.. That sie *Lne - salt not be in all 'this 'land; For. it is &omercholes fresohe rrasr. He savis it'veyis 'are s` �e ie tl; ma rw(124=b)

Replýrin tto~the ýfo1r s further- questioning-the -Fox repeated

earller - sdäitiona:

265.

For gang ye to the-malat extremitie It will not wyn your worth one widdorit neip; ßahir, trow ye-not, I hara one eaull to kelp (131-3)

It is interesting to note that-Me in the Merchant's Tale, when-

Dtcnaing to . oo nit adultery, usea-, the.! same expression na the

Pox in line 133.1 Still the argument continues'- such capitulation

was against the colt's, -will (134-5)= but the Fox assured-his- (bj MW 8aull) that be was to blare. (136) andthe Molt-, agreed. to

his, adpioe,. In the -Ralf I" speech to the Tiusbaudsan,. and ° in the

Pox's speeches .. to 'both Husbandman and Wolf Uenryson has shown us,

by hie additions, the persuasiveness of. efil men - -their 'honied

words', their apparent reasonableness, their wiles, their treachery.

Ironically the Devil outwits hie tolloTers - the deceitful by

their can i ethodu.

Again we find expansion by addition of detail - though It Is

not all 'realistic'}deail. Caxton: 'And thenne he ledde hyrn na uY

¬ý N .ds it. *JMYw. # }4, . x' `ysz ry i. }f .

*" ._ M rs>. _ -. A ni.. _'

ýe4. fi .kr. "`1 `yý ti "i" r. s <

to and fro here and there unto the tyme that the mono shyned full

bry tly And that they cr ºe to a welle. ' Henrycont

Than hand in hand they held unto ane hill; Tbe_ H. usbaAd: ti11 his. hors

,: hee trine the wad, t:,

For he wee fcne; be uchaipit from thair ills . ßnä�on bis-leit. woke. °. the; duce quhilLdey .., 6 Now will we turne unto the uther tray Throe. sroddia waist thir. treikie, one ute can fair Fra busk to bunk quhill heir pidnycht and pair (141-7)

The literary quality or this 'description', jaunt be remarked upon - the heavy alliteration, the

, phrase used elsewhere in Henryson

(fra busk to, buak)! y the Chaueeriantdevioe «(fow w1I1we, turne unto

i 2. ßaxthý° e�c Sý ý6 note to 1. "2361 `comments 'This

2a `s scribal error tor hous'.

266.

the uther tva7l). The cddition of 'woddio waist' is important

for the more1itae (ct. 1.211 ff. ); the time too has certainly

an alleEorice2 cignificance - the Fox loved darkness, the darkness

of this world in which Illusory cnd fleeting pleasures are

attrsativs. A further addition: in Caxton it is at least

implied that the Fox knew from-the beginning that he wan to show

the Volt-the Loon's shadow. In Heiiryeon'e version he did not (11.154-1). Tho poot takes the opportunity to stress his

resources of cunnings

Lori enca aas error And cubteltolo the

having thought of a trick to

congratulatory aa*llö (152)--

renembr1ng upon wrinkle Wolf! for to begy1e (148-9)

plrY the Poac allowed bimsolf a self.

earlier"he had laughed at the thought

of being Judge, at crscceoafully obtaining a bribe (99)" Henryaon

adds the Vo1t'a suspicion and the detail 'ane L'anure Place! (157),

Ve cre told ianediately of the two buckets, (1601-1)" In the

original these were not described till the Fox, had been told to

, oo down: 'And the Foxe was content by cause two bokettys were

there of "hlche as the one, came upward The significant

part or the well or Covetoucneäa, where' Fortune rules, le'-emphasized.

The Fox was` lüleöie in' hies praise' of the cheosä-=- aäd ingenious `

in his explanation , of itä'presence* l'Caztön: `'loko ioir godsep how that Lhe , chase Is ta3rre °5z4 greta -and, biiMe'. " üent7aon!

ýQg e 'said Lowrence) 'aale yö` will tizýd me 1ei11=.; aT

$0' se ye; Dot the Caboik Weill your sell, Qu)yte- as ans Netp, and round- ale' as ane, seill?

_ ; ýä'ý ý' mow` "ýýFzýýýý, `"ýýýý

1. , i(i) 11; 49"50,148$-9t Troilus ands Credo, 667* It

267,

He hang it yonder, that na man , sukl it steills r; ,., fl h r, traict ye voll, yone Cabolk ye coo hing

iaht be &no present to oar Lord or King (163-3)

The pozf a- t'letter9 is noticeable bare; 'sohir! has, bosh usecä

several tines previously (again. we st coaparo with similar usage

in The '2ASW Qg T £) f the 'ony Lord, or King' of, 1. -16O : also

panierec1 to th© Colt Is pleasure, at being flattered. . tAnd j; by an

additionp the Vloltts essential, covetousneaa is brought out; 'Yone

wer flair t; zeit for sic ane aas as Mme 1 (173).

Aa cýi3aioa2 In . Caztoa ý2 k 'o= . auggastu*

fl e ,te , non and goo doune cnd after take that ehern. And the moult' ccd to the Foxe ". thoz , wa st be the tyrate , of ua .

botho , that ehalle so doune And yf thor mayat not brynge hit

. with the by cause of his greteneane I shall thenne goo doune for to help ý the. ,,..... ?; r- f- " ... ... ti.

Hero the Fox's suggestion isomitted j .ý

the ITölff izorely told him 'Ä +t -e {f

o 'ä !nY

i6 ýn ^. i.

nr iý ."

"w Y

to Co down 4174'5)*, ., _=An,

interesting ei ipleuo' .. the,, tjp© of addition

of detail : =L de nryäon sin be seen in the Fox's appoal for help.

Caxton: .. "'L--ý aäp ccwe hither lci4help© Yn For the ohece 10' co

cooho rnci äoo grate that I aye no arc i it üp'. ' 'Ilenryaon: 'it is 1c liakill' (quod' I: oirronco) it maietoria not

' , Onº all . tot Anis It has not left eno naillf (178-9)

There is a further ooisaionj, the; _reason for whioh. it Is difficult

to understar lt tý' - therm. T the , wolf was at®rd , oS that the Foxe

e chold ate hit `entryd `w rtýtn 'the other i oket ... 1ý: c. i ipioa113te 4 e- the fable ends witli t itioa -of

-detail: A'Aiüi., left' thin

; olff in

ratter to the _ýrai st 4(192). Typical too `la the method of

transition fron fable . to boralitass,

..,: ... r. ßuhn hailhit'him out I wait 3not,. "ott the w®11. Betr endig the Tcztj thuir-lo-na°aair-, to-te11 ' Yit man my find ano rude raoralitie In this sentence, thocht it cne Babill be (193-6)

268.

In°t e Fable then we have'seen three types of ohangestfirstly,

changes in the stoat itself (partioularly-the early- introduction

of the Fox), for allegorical , purposes secondly, the addition

of details - these serve two purposes, which are often intertwinol:

they increase the inms4tacy of the work ende particularly# add to

the allegory; thirdly, the rounding out of the speeehes, vhich

comm to provide-full portraits of the Rcharaoters" and thus a

revelation of the=moralitse - the wicked picking quarrels with

the poor 'Be Rigour"reit andýuther wioketness' (233), ar4 the

Devil with his wiles.

The soralitas presents many points of interest. ° Caxton's

moral is neglected entirely: - -` ok-"

And thus the vulf lost bothe the oxen and the chose ahe? fore hit is not good to leue that

I* aureand certeyne For to take that which" fhithe "is uncert yne. ` For many ' one ben therof deceyued by the. faleheed and decepolon of the Aduooatek and of, the ý Jukes.

Cteinhbv61s is'muuch'the saaö1 'Bt'ita, quiä lupus pro futuro bono

incerto dinisit"presens certiue, böses cuaioaseö&perdidit.

Noll ergo certius`pro'inoerto diaittere's$Petrue' original again

has herd no influence t 'CastigaüitýAsabs=tiliuasuna

dioeneiAooipe consiliu, s ab-fodea, de quo"requiris experto, quod'sic leulus habere>poteris`=quca ei-tu ipso periaulose probaueris --Alius--oastigsuit tihiua'ouua°dioenes - its "creche, oani: 'quoll. audlea eonsillo, donee prius sn4sit-utile probatun fuerit in aliquo ne contingat-tibi eiout'tatroni coatifit qui oonsilio domini domus cuiuedea credidit "..

But : lours are sore . Yery interesting- parallels in fables which tell

ýeehat 4 the sass r storýº as the 4 ýöx: t Wolf ' end' the 'Ituabanduan. ,rq

269.

Joannes Gobi' tells the well-hnoir fable of the dog carrying a

piece of mast over water and, seeing its reflection, jumping in

thus losing his aeatj Gobi moralizes: 'Ole suari ... bona ...

perduat propter unbran bonorua tenporalium quo flea possidere

poacuat esapar. ' Tt? e88i ecnlua L8102=32 tells the elms story -

cubstitutingis piece of cheese for meat - under the healing "Do

e=re zundi at fallaaius eius". A fable in the 130 Romulus3

relates how a fox, wandering by waters at night, saw the noon's

reflection and* thinking it to be a cheese, began to drink the

river drys he suffocated himself in the process: 3: oralitaes

'aio cupidus oania tantotlabore lucro-insistit, quod--selpsum ante

tempus perdit. ' [arie"do Franees tolls the same story moralizing:

Steint hum: o espeir4, utre dreit utre coo qu'il ne devrelt,,. b Aver tutee sos volentoz

Dent pulsest mors e'atoles. (15-18) , The two sort interesting parallels are to bestouadtin the works

of Odo of Chariton and Nicole Boson. , Odo5 Ltells hoow a fox by

chance fell'intoäatvellj a wolf finding him-asked what he was

doing, was told-'that hemhsdFfound a great deal of Eich and was

cdvlaod to a ooze down. -, The Wolf, vasty duped.: - * Odo moralizes:

Ynlpeaula'significat Disbolua qui.. dloit hominit Desoesde ad., ae =3n putout: -peccatiaet-inueniens delicias. etnmltaabona. ýw- Stultus°adquiescit et. desoendit in puteun ou1De, et. ibi nullam inuenit ü refecoionea. - _ý -Tandom: uenlunt ininici aVextrsbunt lapiumý. perouciunt etLLperiaunt. Diabolus'aulta bona Aderproaisit; =: uedlmulta

}rr ý- . ter'

ems. s .a"a

1. -° Tc1j jj 2g , -ov jj. 0 fol. ' xvio. `> 5

2. ß. V, *8.. ? orsl 7 Czv t rel. ° 15 a; B: ü. " Add. Yß. 33957, fol. 84. 3. Hsrvieux, `ii, 598: 4. ed. Evert and Johnston, qp. cit. , p. 41. 5. Hervieux, iv, 192-3.

270.

Nicols Bosom writes Contra Cupidos

Zn is tiara de Ethiopia ei eat trove un piers qe eat appelli crisopaz. E caste piere luvt trop cler tent con Is Hurt dure., Mis ci, test con vynt a cler Jour, meyntcnant Pardo sa biel colour. Auzlnt eat d" coveitise de caste monde. Us piert bole quant a pluaoura qe ne ont aye dreit conisanc" de Is, yolentee , Dam; nodleu. Lies quant vendra a cler jour, ' ou taus verront, la

i verita,, lore art tenu pur folio, o lolyo art tenu pur graund sen. Saint Pool 2e tesroigne e dit: 'Ie son do coo, aond eat folio quaunt a Dicux" Dont plusours coat deceüs! 'coax avynt 3adis.

Fabula act idea Le lou list al gopilt "Jeo ay troveo un =uz. -age bpn. e bel, sicom or resplendisant; at joo le pusae cver 3eo serroye hoitd. " - Osten! rat Is gopil, moustrox moy: le turaage e vous is averts. " Lautre va a lul. naustre Is, luno.

-resplendisant e un servour.

In this -versioa ° th" foxg taking advantage, of . the wolf's foolishness,

suggests that tha wolf pull the cheese out with, ito tails the tail

is frozen iäto the säter, ar4 the . volt pulliügOlosee itt

uI1las: " dit, le lou,, "ore ay perdu. ma cows c a"-turrage, - e sui bony; s or. )neIoee u 4s appsrsr entre in gent. A' mal hours dosiray chose Qe no rust pas pour, Hoy: "

_ Luxint

=utcs den Bentz desirent son's saver do coo rondo, i qe sat semblabis a , la . lure sal uabre do In lune ge£lust'en is swap qar 'x quartvous Is guides happer vous en, rauderss. Tant com sont en purchaceant, 1® Eopil lur deuandet

. 'Coxent -vous est7V. - "Dien font-

Ils, " noes sentome la bourso auques graunde =o;;. asaunte, " - "Vein, " Pet 1'autro, "catandes unoore a tiel miestier: vous avares la torzage tot, enter, ceo , est a dire tot la ville E, od la mauere. " a- Itia quant .

'-, ;ýný1,, x, Quiemt =cux happor, lore s'cn wont ssna, ,a cows do terrier over ...

_ý ,w

1. Iss Cantos l: oralt. 4a, oo h. , pp" 64-5" , .. __. r,. 29 1 Corinthians U10,199

4. c-

271"

IIiblical interpretation has, too, "söme points of interests te

interpretation of the picuch. an as 'ane Codlie cyan'# and the

atr©aa given to hie activitie3p can be linked with Clore the

P a, . rr4 tho tradition of interpretation which nfluenced

it. l Porhapa the piouE21 cn'e desire to rotain the Cock (from

whicht to interpret, hic good works spring) Is explained by

Garner of st. Victore's later? ratation;

Pe Gallo (; *III no*ine praedieator sanctue deslgnatur ... Oa; lentia quippe diuinitus inopirata in vl sceribua hoalul e pouf tur, qui n nimirum qu antun ad eleotorw nunerum cpeotat, non in Solis vooibua`, sed etiam aensibus dater, ut Juxte quod loquitur lingua, vivat consoientie, st lux ejua tanto clarius recplondeat insuperrioie,, quanto veriuo ins rdeecit ° in -corde `x _°

Hrabanus Usu. rust interpretation of ' uteuet lo 013ä intereetings

... prot'u iitae vitioruo1 ut in Psalinis "rclue'urCeot super ne putaue os ouua, "

' id'est doainetur mihi'profW4jtaä fitiorua, -'r ut in Psa1mles "Deduces cos in puteum

' interitus, " "Sd eat, demerges. eosin pro_ýuuIltatea aotornaa perditionle. 3

we a', iet axamine -the relation &hlp of ' t? io aöralitaa to the

table itoolt and to the ? b11, ß ne a whole. Firotly, it =at

be pointed out=, tbat°"thero is here'again an 'instanoe of the device

of surprise'Sýhave discussed when deelln with other parts, of 1iennpdonts works

The Huebar4 nay be callit ano Fodlie man, iLh quhoýce . _t3 eZfT$ falt firidis n das Clarkin raid. ) j Besse to tampt him with all wayle that he can.

Ths,, haaaia _ ar. wards that : ra. Sorma fraith ptvciUias- -_M c uhair eic . prowls epreidie, the,,, avill spreit_, thaif;, y. r xi

v, -wx an 1. Ct. ':: 7. Rob or tson; -"Jr: duct

; B. V. Bu ppi #ý, Pr j, ¢rs -Pa #n Seglgt3jral "' - (? rinceton Studies sin 4nELiah, mum r nce on, , pp, 17-19.

2. and 3. Sao over.

2? l"

Sot tea4is unto the u1ckit mang agane That he he® tint, his travoll is full unfcne (201-10)

In the fable to had been led to believe that the 'ffusband' was

tricked by the Pox) had given- in to the teaptation to bribe,

a tenptatioa furthered by the erguzent that 'ßo3 i$'Leno to

sleip' (102). Again then our expectations are defeated by the

moralitaa. I must say, however, that 1 an not at all certain ý_brä

that we hagre Henryson'o o=n Doralitao to thle tables the baste

of it is alaoat cortainl; j his, but how for detailo have been

chanced by Proteetcnt revision it is inposaiblo to tell an,

unfortunately, the Bau=tyne Uanseoript has no copy of this poem.

Detalla which lead as to do"3bt the canuacripto we have are largely

to be Po, =d in the stanza I have just Quotedt line 207 for inotance -

which seams thorouxily Proteatunt in opirit - and the inposaiblo

scansion of lins 208.

Ceaonalyi the rolationchip between our fable and the phi

an a wholes in detail we iruy compare Zhe Cwnllow c3 Othir flir'd1 :

The Fend piettis We nettle stark and rude lind n der ploeaunce priuel. 7e dole hyde (290-1)

our poems

For Yazmon *ay be callit the Devillia net Cuhilk Cathanaa for all aintull hon act with proud pleaour quha cottia hic trait thairin, But cyeciall trace, lychtlic oan not out win (214-7)

But further, the rarrlitao atrcasoa what noy be coon to be the

baaia these of t2: a e i11 e- the trancitorincco of thin wor 1d'a

2. Ore 2r1 r, . Pý

. L., cxciii, col. 73. But cf. r`Y dicruusion oP

the care nscäci in tieing such Biblical exegesis In l1tcrary criticism 'with reference to iU Fox OW te Coa:. l D. ....... _. r__.,..

ý ,... . 1E4 no 1.

3, A112 ; oZIa _in Clncrtm 9crjntujCMp PtTj cxii, col, 1035; a280

Garner of 8t. Victore, c re ; ort dun, cxciil, cola. 3C0-1.

273"

Illusory pleacurss which give no reward horslor hereafter:

The Cabot I be callit Covetyce, Quhilk blom. ia braid In-vonv mania Eel Wa worth the s®11 of that aiokit vyce. For it is all bot fraud and tantaisle, - Dryvand 13k an to leap in the but trio That do anwart drawls unto the , pane of hall'-, Christ Yelp all Christiania from that aickit well (218-24)

The poem ende with the conventional prayer ending, an always

mould*d by Qenryaon to tit the particular fable.

Co onae cgain wo find Henryoon taking a straightforward tale, remoulding and revivifying it and adding to it a new

coralitaat a orallta3 which though ne to the context In not new In its thbughtj a noralitas which again atressea the

underlying thene of ! enrycon'e work.

r' 'i

.,.. x ,

_

4t-... " i

S 55

ýst, ý . tea }wL. ý

«w . »+?. .e ve GF Lk ýý y- "ý' !-

sn +an -Nýýd-.. Mf+ý

}f

ý. A Y s. w_v

f

4

274.

(xiv) The iolf aM the Welder

I have been able to find only four veroione of The roll an3

thM dgr, stoat apart from Henryson's. The story scams to have

cone heron the Baal through ßalao's ablse_Qu32er ti=. l There

is an ©xpwA*d, but incosplate, version in a British uuceun

Ucnuccript of the twelfth conturq. 2 The important version for

our purpoaeo area, however, the proce account in ßtoinl ro1'©

collcotion3 cM Cczton'c tranolation. &4

Although tianrjoon hoc made cans iziportont changoo in hie

version I think it can be proved that his source vas Caxton

rather than (telnhövel. Firstly, in 8tainh3wal - in naldo end

the Ucnuocript veralon too - the protagonist is a ram (arieo)* 4

lienrycon follovo Craton in docoribing a uother. 8ccortly,

8teinh5ael o ecitica11y describes the golf evacuating itcolt in

three different placeat

CuiYue lupus reapiolono videret ipaun insequsntsstia proprils atercoribus oat inquin. ntus, cepitque velocius fugere at arias eum peroequi instantiuc. Intueneque sun lupus agiliter venienten, itsrur. a proprilo stercoribus ©st inquinatua., r . Deru2o autos intuens. -lupus Ian l aaqu" videns, oomprehendi = se; sb artete pre.. valido.. timore. lea vice k tertia proprile r'eaibus fortitar cat pollutua.

And later the voreion describes how the troll took the ram to each

of the three ip)ace e to _ ao aase :. his. ,

Canton,,, in describing the

chaoe, reedsse": z .,, ,

1. Yleririewcý °rý; 36g,.. ß: o, ti 2. Xa# Add.

, 6166, iX.. jlb- 2b. ar . ed., Öoterley, 2. t., pp. 231-2.

40 o1.. iceobi i, "oi z' ii, 100 =2.

275.

And thenne, the sayd nether 'raine at er° hyn And tbo an1S Whlaho cuppoaod that lt had ban the dofle ehote thry©o by the raye for the grete fero that he had.

Later# Caxton'a version inpiloo that thla happened at one places

A: 4 thcnno tho ault loddo hyn unto tho place where us he had Byte eeyenge thus to h71 loke hgther oalleet thow this a pleye. ý

Renr7aon describes during the oh se one evacuation önly (86)i

ani the Wolf brought him¢back 'to'öne Dlace onlq (109) - his accusation

of 1.213 would " appear t6 'apply to " that one -place = on] ,- so Caxton' o. The `Bret departure 'Heruyoon makeo from hic oouroo la to

specify the~pläeeýwhere the 3hephord, 1LYCdt 'be one Forroat noir' (2). Ute danger - the proximity of-the 17o1t'n haunt - to thuo

i=odtetely, e sisod" ' He -wae ° alone too wharoaothe shophord

in Canton's account was>'fa feier 'of a 'ta dle' who had eaveral

to help him$ the * ýºh®e he: riea were 1 sore , trouble-KI ax4. prothe

ai aid to one_ other°we. shall'no more a1epo at toure eases.

And In thia. lonely situation the Doj was our Ghopherd! a: only help,

Rw

[he] had a groota doege for to kepe them which 4 vaer e'e1 'stronCe Arid of h18- Yoys a13- thos -values were aferi wherefore 8heepherd L alepte 'Hore surely: . ...,. kk+i

tlonrysons

ýý . '.. aue *üound that did hta'grit cotfort; Full gras he pro© to walk hie Fauld

; but weir,

That ýa he o12'f i} %1ildoat «durrtµeppeir N2r ý Pox on teild, r� yit no uther_beiet, of he the e, clews or bchaieait 'at, 'the lei®t (3-7)y.

^- <e +i.. wms ý .Ya.. a {' 4-n.. .r c- _s=,,. ®. Tcy& er , "1 Y#! _ =x

T ho details . are IIoro s; eoltlot the Dog attacked all typen of

aniaaloj he killedýthoa, or chase thea, snotrorely barking at

the. The post , has roounsed , attention än. thy, Dqgýe eiý'taotivou©aa

276.

by his typical devices,. (! prI ' coatort1 j, t ýwarv f Inouther .. e

nor ... nor ... nor'; alliteration). 8o the loss or the Dog

in üeai7eon'n Does appears more disastrous despite the fact that

the poet re W e, in an addition, that ' euerilk belet nan de'

(8; he is already pointing to the folly of trusting this world -

ct. 1.160 '. 3or clym so hie, quhiil he tall of the ledder'). And

the death is idden, (1.9) aril, thus, in = its . uncxpeotedneo8, more

disastrous than that in the=originals -'this dogEe for his veto

age deydc'. The poet stresses the ßbepherd's suffering, using

the traditional-lament forms

Bot then (God wait) the keipar oft the>te For wcrr pro woxo wanner nor the welds 'Allaae'(quod he), 'nor se .I na romoid. { To Bait the cells beictic that I kelp, For wit(h) theý! o1tt"yeryit_ bets all cy-scheip' It vald hait.. maid one nsnnic hart lair-to ce The calla scheiphirdin lanontatioun (9-16)'

Cuch an appeal to the reader's exotione'is; Yof cource, 'a cozen

late nodiaval rhetorical device. l But it is certainly in keeping

with the other chani: ee ve have alröady"o®on: "an extension of the

portr¬yal of'the Chephcrd'aelianc6 on the`Dog, grid his uttcr-

1. It is used elsewhere in fenryrson: `in -The Tgeta ont o Tea ol, the narrator several times excuses Cresseid. 'Tht Wolr PIA X34L * x,.

'Was' this no rewth was thisl*nocht grit, 'pete To heir this ß111y lamb but gilt thus de (90-1)

41 Chaucer also used the devices The Tv-&S29 pt CQoc VOM2 s

Al hM4e tolkes harten ben of atonco, liita eulght ý have naked he* upon -hir rows, (1841-2)

. Troilus &W grIgIgiat

, Therwith his r an2y sorge to blholde, It ayghte-h= mzd an horto of otoon to rowsj And Pandaro wop no he to water woldo ... (113-5)

277"

holplesanesa without lila. The passage quoted in certainly more

ettcatlvo in thin . ay than Caxton'ei 'so chall no more oiope at

our* ease by cause that cure logge In dada for the sulues shall

now coae and ate our sheep'. And üenryoon adds the laments

'Now In air Darling dead apace' (quod ho) l 'For now to beg ry braid I , icy be boon 11th plikstatt and with scrip to fair off tounf

For all tho bolotio bcfolr bandonit bend Will Schute upon ay beietie with Ir© and tune $ (17-21)

This was the and of . his livelihood -- he muot wz beg in 't l rr Oti_

toure'. Henrys= then has-made the loon of the Dog far more

i ortant to the thapherd - and thus more affecting for us - than S4

._.

his source luid done. a The reason törthia can., be explained in

connection with the change in the portrayal of the ? ether. Caxton

deccribess 'a altj Trether tZers m4 rrpsd'. At once our

cqmpathiea are alienated; doubly so for the table began with a

moral prejudicing our attitude to �the h ether: 'Grete 'folye is

to a tool that hath no myght-tint, wylle begylle another `etz%mgar

the himself as reherceth this fable .. "'. We croon realize that

thew criticise refers to the Wether. But 1Ienriaon'a table begins

without a moral pointed and "his tether in ýprecented sympathetically:

With that ans %ladder rreohitlie van-on ruts 'tauter' (quod he) 'mak merio and be blyith

To brek your hart Scor ball lt-le na buts' , (22-4)

The Tlether - and there ie no auMeotion or pride here no yet, it

shared Its master's grist - offered to contort uM ýuooeeded in

comforting its sziater; sad, no we are personally involved here,

we adopt his point ot. view, we ore. grateful to the, 'ether., ° This

then, i feel to be another example. ot, . the device 1} discuaaeä in

dealing with The Cok emir &e J., w®1 - It in to be found oleo in

278.

The Fo- tMed botoreJU 1, yon®- There the reader is purpoocly

Involved in aaapathy with the tool, only to be ohown hin folly

in the coralitas; the reader then returns to the tale rindinß

hints of critician which, bocouco of hin initial cyrpathy he had

not rccogaizet. Thus _the

Cheep'a speech perhaps contains hints

of over contidenaa, of aisplaced belief in Ito on abilities

because it will be externally like the Dog it believes Itself

to have the Dog's abilities (cfe il. -141-7); It does not know

its on imitations (cf. 1.156)s

ý11Q2. the cure ýýg, Your sic eip to kelp t dd nit and ni . And he peroew, be Qod, Al n 2t cp. r To follow him s fnet no did vu Doi Ova that, I era , ye sal not want uns hoig (31-5)

In essence this is an addition to the, original which merely states:

'And vhanno the wulues ahalie see me they simile haue grate fore

of no. ' At first reading we take the iother'4 speech to be

merely an expression of his desire to help - we are duped, -like

the Shepherd an shown in another addition:..

'Than' said the scheiphird, '�'this come of ane Bude wit; Thy counsall is bbmith aicker, leill an& treu quha sagas one so ep is daft, they, c1t, of.. it', (36-8)

Cuch an u tivated denial of the Wethor'e folly lords us eventually

to question the Shepherd's judgement; and, in essence,. -the tether

was a fool - It did not know itself or Its capabilities. (cr. 19 155).

A further addition adds to our understanding otrthe true nature

of the T7ethert 'Than worth the 9iedder wantoun off hieß,, weid'. (41).

At first reading perhaps we neglect the implication of 'wantoun',

despite the alliterative stressing, but it, is brought out by. the

noralitoas

279.

Heir may thow se that riches of . array - 01 1 Oill cause pure men presumpteoua for to bet ýhry think thaj hald of annex be thug als Bot counterfute ano Lord in all degre (145-81

ücnryson illustrates thin counterfeiting in a rurther additions

In all thingio ho aounterfalt the Dog; For-all the nycht. he etude, and take na-zlei; r Swa that refill lang their wantit not ono Hog. Cra war he . wes and waikryfe thane to °keip ... °(43-6)

The gather had taken not only the Dog'o clothing but hic Qannora,

'all thingia' (cf. 1.1414). Again-the. poet "panda his original:

Caxton's s 'dnd -whan - the wuluea : cane and saue, the - wether clothed

with the skynae of the dogge that' , begannen all, Fto flee and renne

away', becomes:

Wes nouther Wolff, Wildcat nor yit Tod Durst . aua within: that' , boundis. allvabout Sot he weld chase theme baith throw couch and anod. They- beilfull nbelstle hast of their lyvis. 4sia lout, For he was mekiil and ,s

it to be stout that everilk beist Ahay2ared , him-, do-the, deid-. Within that woids, that nano durst bald their hold (54-6).

§fG, a +s_t CwR

Again 'emit' Is the important word, a word perhaps not fully

understood at{first reading but paralleling 'counterfeit'.

h'-verything- sgcmed'to Ibe working_out'*well'-tor`°the''masquoroding

tether, but the moral It**. remalnda: t, 'Bot-yitnano *wait how lang

that reull-. will", ring' (151); . :.. t.; a.. w In, the initial portraito. ot the Chepherd, arul the Viethor,,

than, ilcnryson. 'a additions have caused sympathy and admiration t. " 'a. ý �� is g '#f, , _szt y;

for the tether. c,

But he has also added words, and phrases which

when read ,, in conjunction with, the 1Loralitasi show the Tather'v.

%!,. a a 4_ ,, it 10 z

a. x Pfd ä'd 'e.. t

folly, - because it is dressed as one or its betters, it, thinks

it has the abilities of that bettor; it does not know itself. :" ý# ä3z. Tom' ti"* , r+_d k' i

'°,

280.

4 äW of the later cdditions. serve the' aase purposes. The

rpit'. action (it is portrayed partly through its own apoech

hare, not so in Caxton) did not-hars one lamb only as in Caxton]

for the lair start up, fror than wer all ©gast' (62) - our

c�ipathieo are further engaged with the Rather, the cola protector

of the flock. The poet stresses the nation of the chase*

Caxton states zerelyt

And thane the sayd another raune otter his And the holt whiohe supposed that it had ben the dogge ohote thryos by the ways for the grate fore that be had And rann euer an fast as he coudo and the wether also ranne after ty * withoute -cease tyl that he ranne thurgh a busshe full of sharp thornes.

fienryson involves ua in the chase, we sympathise with the Wether'c

efforts to catch the io1S. But he does so not merely to

entertain or to create a 'roaliatie picture' - our involvenont

Qakoa the effect of the moralitas even more startling. Bot

Bot (God wait) git, the . adder followit fast Went'never Hound mair' haistelio' fra the hand, Cuhen be. was_rynnand masst'raklie. at the Ba Nor

, tent this V wider ýfover. ýaois'gýd atr md, Ads atoppit` gutt er-`a an c, bunk;,, '= bra Bot tollovit ay as terslie.. on his: ýta, Uith 'sic : ane 'dritt, quhill "dust. and: dirt over drait him And` maid me Vet to-God that ` he

, sold `have hips (63-70 )

Heavy alliterätioz rbatorical eýäphäoee ý'baith... `and' j 'nouther

... nor'; ' es' jµ! sic') bring out; tho , hectic nature of the chasa

in which the: 'ether has completely ; forgotten its real-ca;, abilities.

In tact it, 822MR-as; it the - tether. j the Dog' e, capabilltiea (64).

And yep at this stage thinking the blether to be on Ood's eider

oocon3 its vow (70). Added details too make the chose more 'reatlietio', involve us furthers the Wolf atrotchina out its

281.

tail (71), night drawing on(72)9 the"i(o1fle constant fear

(73-5)

Thairfoir he epairit nowther busk nor boig, For weill he icennit the konenea off the Doig (76-7)

1.4 4 IV The Volf threw the Laib aside, to lighten its load (78), 'ilym'

lap ouar lain and drain throw dub and =ire' (79)" But t ho

ivother insisted on proving its otrength (00-2), another addition

111uatrating the extent to which the bother has 'loot' hinnolt

in his part: it thinks it is a dog or that it can do all a dog

can do. Thin folly had begun through its assuming the 'clothes'

of the dog. The poet introduces an element of excitement:

will the blether catch the Wolf?:

The Wolff ran ©t1ll quhill a. ne strand etude behind him bot ay , the nearer the 17edder he south bind him = (83-t4)

There is-something of the sate -suspense in the 3teinh5xsl version

though details are _-Very, diffsrentsä, !-°--IM. i

jlupus] tulitqusýagnum ao`tugit. Ariesl-lautem insequebatur eum instantiue, Cumque lupus respiciens Yideretýipsuu, {lnaequenteza=proprüs Ctercoribus eat inquinatus, cepitque yelocius

-°rfugere, 'et arias eumý'persequi instantiuc. ` Intuensquo eum lupus agilitor vonientem, iterun

"a' propriie "° sterooribus eetý inqüinatus: *- `Denuo'"=°', - - auto= intuene lupus ism iamaue videna comprohendi

': ='se7ab ariete pre °valido tiaore iaa'vice tertia propriia fecibue fortiter eat pollutus. Cumque instantius fugeret lupus 4 consulene , sue vita, -et xe arias ineequotur casu evenit iuxta viam opine ...

.. r $ ir.. 'p Fe veM1

H- ý`- a `i a. a

ý, ; öi . rh fý i+x

Some cfter that he followit him ca neir . Quhill-that the

_ t? olft, for fleidne a,. Sy11t -the

to11dj ...

ý-� Fyne leftAtha gait,, sndran. throw. -. busk and,, breiny.

.,. And aaha him -ffra the x vobarie fore to w sCheild "; ý ,,. t lia`, rsn restlos,, for }he artet` ott, ins beild

w+, ) 4.

v lw b4 ý.

s

m«. h ru :

*. e '" #.

., u. w'{ "s"a e-1 ,A -"

«. "F' .. » ^ awe

xr1. s

vFk

282.

The wedder lollowit him IIth out and, in Quhill that cane breir buck raff rudolle off tho ammo

(85.,, 91)1

All is- changed suddenlyt the chase had been long (63m90)1

the au=aaking awitt (91) and. final immediately reversed-the

röles of the nniau 1s. - ýk-" ,° "ý .

The e chance of speeches between the aniaals also chore

certain additions; so the Molt's first speech where it vowod

to God (98). -It seised the Tether by the horn (100). The

entaing conversation stresses$ as does the original, the true

relation between the beasts - 'Maistart (104)v says the Wether;

the tost ooaplainct that It is wrong 'To not your Uaister in sa

tell ettrsy' (111). But the Ylathor still had argent to zdvanco

arg ont not in the original - in which it used ooze of - the devices

used by the 2o= in other tables (the Fox "successtuil r flatters

in Thf Fox aid the Woltt 'Its son ° unsuccessfully, in Tb Pox try

before the Zsvane) -- deference! (ýIachir' '19 -120); ý-proverb quoting

(1.222), ý proeise -to serve Y(11. , -125-6). But. the blether 'too van

unsuocecaftl.,, , =The Wolf- 'itýtn: schuader schuke! R=, (133)" 3

Again then we have seen Hanryeon using traditional forms and

cocoa rhetärical äevicec and the use of-detail to make or, his:

table.. ao ethiagr news -a tale . whiah# through-, Its- 8 aDatb 'ý` and

suspenao, . seeas'to engage our sympathies for one character# but

a$a,. BEY k-. F_ Yvr

1. Llssents in , the deaoription can of course be paralleled;

in"other `passaEee of .F ablý9s ý` the 'bunko "arä breire' alliterative grouping can be found, for instance, in ;

s 't l. T5) -andi in- that-fable - toop -as-in-many, places, throughout

.P #) the. baith,. `&a'. toohu1qua fi and; . the -uat : of :a eavy;. terative . pattern oon -0be parallelsd. (On$ interests oaourrence is the chnse in The Fox and the to Co, gX11.9-61).

283.

contains undertones which, in the light of the mor3litas, will

show our ayzpathles to be mistaken. The devico or narrator

in nodi*val poetry engages the readers in the action of. the

poetry, e=phasiting its applicability to the, readers' own livoc;

the device. used in our Doan achieves the same effect for we havo

been misled with 'the, shepherd, with the Wether itself. Liko

it we mist learn to know ourselves (1,155).

The noralitaa has been considerably expanded. I quoted

earlier the opening of Canton's version; at the and he translatod:

'And therfore he that is wyee Maate take good heile hors he pleyoth

with by= "hichc is wyear more cage and more stronge than hyrn colt

is. ' Honryson discusses the folly of social climbing not

merely one's actions towards one of higher rank, but attenpto to

be equal with, -even to rule, that person. Social-climbing shows

blindness on. two , leveler failure to : know. oneself, to recognize

the limits of one's capabilities; rind Sailure.. to. recognico that

the respect -and power one. ptrives for in putting-; such an emphasis F.

on bettering oneself are but. passing anyhow. --. like all things in

this world. A. _,, Gtearnal argues that the fable applied to the favourites of

Jr os III - loser,: 1ios rle,. Cochrane and others, - whom the nobles

despised and. sgsinst. Whoa they eventually acted..,; _ -Ir, this is

so 1ienrjson must have wished merely to remind of the lesson of

their -tals the p0141 hsrd1 have boejid irected against the=

1. Ro n, pp" 20=2. " Y 8ee'nay ioröd°eýctönded° discussCon of :. this,

, type ot comment In. tr, chapter on Tx M1 the Cook,, pp. 185-90;

264.

for when it"was written (Carton's Fso e appeared, in 1484) theoo

fmrouritoa had been overthrown and Cochrane killed (1482).

Such a reference may have been int©nded though it in impouaible

to prove. And, it =at be noted, such criticiam la, part or

a tradition. Other fablea deal with the came problems thud,

in Caztan'e edition, the Aso in the Lion'o Skin; The Jay and the

Peacock:

Clone ought to were and putte on hym the gown or other wheror Scope reherceth to ve eucho a fcblc of a Jaye full of voyne glory which 2 toke cnd putte on by= the fathers of a p©cock ...

Soeclere'® Parement or Princ©j3 le even more explicit on this

aubjects the beggar criticizes those wearing Wide scarlet

C"oxas, with long sleeves and an abundance of furs,

'Uoy sothely, cone it is al a-ßy8 me pinkypj Co pore a eight h1c lord to counterfote

In his arrty, in my conceyiVit stynkith-.... (435-7) *Go= type, afar man gyghton lorUlo knowo

By there array, - from oper folk; . but now A man schal otody and cucon a long throwe

rhiche 16 vhiche; ... (442-5) "Lot auero lord, his own$ men deff©ndo,

Strichs ý gret array and° pan, on al Daryl, T la lzrA. within, a, mhi18 schal cxende x (456-8)

Croon material. too, as Owat. _has _shown, 4. discussed the anno

cubjocts

.4 ZIou3 also the comyn IFeple ie hie otied

unto' the 4ynne of pride. For nor u wrecchid snare, that Both to the plou3 anti to carte, thct' path no morn good but eerveth -- fro ! er® to x

1. Jacob, 0___. , cjt,

ý, ii, 219-20.

2. ibidz, pp. 52«3. Cf. u3ao Jaoquee do Vitry, F

Crane, CCXLIX, D: o andY'ýir o. reaturc, ,oý dial. 54, pp. 196 7"

i. iik 3ý

atK rý F

3. ad. F. J. ý'urnircll, . Q3? ýr. ý. ý. Dp"1fr17. asýý- a,

4. T ijýcure `and Pulpit, in-b'vdiaýýal 'n 1cnd, an. ''cit. , pp. " 369-? D" ++ .w ýrýý rrý. r r- r

r& Jt;!

5:; iw

285.

; er for his 11Plode, there ,' as eumtyme a ehite curtei and a ruacet gone aold© hau© served auchon ful Q©1, now he must have a froach douplat of fyvo echillyngee or more the price; L

Dost euch descriptions bewail the deosy of order in aocietyr Hcnryeon tcrna a, ainat auch social ol1Lbinn beoau®e or its

denge re s

Out of thair cair in pryd" they clyn- ca hie, That thay forbeir thair better in na staid, Quhill eun man tit their heillie over thair,.. heil (145-7)

.. ' Bot ylt nano wait how lang that rcull will ring; Bot he tue versa that bad his Bono conciddor Bcwar in telth, for Hall benkia ar rycht ©lidder (152-4)

Again we find Renryeon uaing, a provorbj2 here ite cccumulatcd

wisdom giree cdded welght to the arjwcent. It

iaaj; inod that ilenrycon thought that euch social

came to grief in thiq world: the tale ia, too,

exeaplum. A comparison must be cado here with

in The Mn ! yie= there 'o lordis fair thus can (110)o And:

can hardly be

olinbora alVcyo

a opiritual

the situation

thay countorfait'

Co Intermellit is cduoreitie With crdly by so that no atait In fro

1.9. U. Us. Adds 41321, Pole. 101b-2 quoted by Owat, Li torntvro ued rw 1, s cit., p. 369. swat hua -jxnpInnd also translated two of or ntorosti g yoaasaas John

Waldeby (II. u. U2. Royal 7R ii, fol" 17b) x ft'. hatever vanity or finery can now be found r ongot lords and ladieo in clothing and cdornment, their servrnto and naido usurp for thsmcolvee. And thio Is a great sign of this world ... As the servant so also is his lord.

Rypon (from B. U. Lt3. Hurl. 14894, fol. 27b): The garments, I smy, of the proud und those who wore once noble are now divided as spoil ... Hardly anyone now is satisfied with his status, but pants after a higher and inanely attooto to be reputed better than he is by other people.

2. Noted by Gnith, Ego -rigs ooh. It 37 note to 1.2600. iTood, Poi n and Fablc, e, Qn, t cites p. 2149, note to 1.2608 notes its occurrence in Tja ', 'hro Pmnt1e of Poblio, 1.614 and ForLuscon (1641 edition) 335,

2860

'ithout trublo är`aum vexatioun And sanely they that 4lvsain v soot he and rocht content of aa poses©8 oun (207-11)

I noted in dealing with the ný'i', is the conventional nature of

thin advice. In these two rabloc then Iienrycon has diccueoed

the cans problem using differing examples (food and power).

In both, his yarning, implicit or explicit, is against trust

in the things of this world (wealth, position). His positive

reco=erriation is to be found elsewhere in the abillin:

'acienoe'z

It In the riches that evir call indur© Quhilk notht nor nwat may rocht must nor kot and to ani© eaxil it is ©ternall net.

(The-Gok and the-Jiýwoll, 138-40) r"ýýrýiýrýýuriir 1

. 11,1

,:

:ýý

.., w .. ýi

z. b

1s 11

r_

e

ýi -

287.

D: CoNcwaIo i

Little need bo said by way of conclusion to thlo otuäy of

The rab1111s. - The central argument has been repoatedly strcnccdi

äenr, son, by the use of traditional formo, the addition°of

detail (much of it literary in chsracter), hts, expanded a-genre

previously limited in soaps to the consideration°of loolated

ethical problems into an ezaainatlon of an as a beast, man

"hose bodily desires so compel him that he loses sight of the

spiritual olenent in hinself and trusts to trannitory 'pleasurea'

of this world.

This In the central point of zy argu ont but fron it arise

two further acpcata to the work: firatly, Henrycon'a g b211ig

are, on the whole, very sophisticated poetry requiring perhaps

a sophisticated audience (for instance, the inverted use of the

chanson d'aventurc form in Thy the I3cheip and the o2rr

would seen to require of its audience a knowledge of the original

form) - this in not the poetry of a rustic. Neither is it - and

this In the second aspect - the poetry of a ßcot specifically.

True, an we have seen occasionally iienryson would coon to have

directed his criticisms at ßeottich society. But generally the

poetry (in form and content) shows thorough acquaintance with

techniques and ideas which were European wide in application -

one would scarcely expect otherwise from a nun reared in a

cadisval. Catholic environment.

There resaine but some briet statement of evaluation. All rich atatemento are of course, to rot® extent at leant,

288.

subjective (perhaps excessively so from one who has spent

aerrly three years irmerced in the one subject) but, from the

evidence presented, I would suggest that Henryson was more

creative within the table tors, extended its possibilities

and scope tar wider, than any writer since the inventor with

the possible exception of the writer or writers who rounded

the Joznn de-Renard tradition. His achievement must rank as -------- a major one yet it would appear to have been completely

neglected.

289.

P 111 '121i =II=t ý MUS

f C

ý ýv

ý ýa

3

a ., ýýfF,

.e£-ýa-x a ;a:.

#

-: -

e t

r.

290.

At INflODUCT Told 1;. ý, , p,

lenryson's shorter poc o have been almost comploto3y

ncglected. 2 The only work to have received serious critical

attention has been F-obenerkrid ; tril et and Gregory Cmith' o

ctudy3 still forma the only attempt at excaination of most of

the goers.

At the outset it rauet be recognized that 1ienryson'oshorter

works are genre poetry. To understand the characterlatica tj3EiSr

of thece genres requires a great deal of effort, for romantic

and poet-ronantie poetry has largely been written with very

different assumptions an to the nature of art. But the effort

is of value, for two reasons.

Firstly, several of the poems are of eonaiderable writ.

As their merit lies largely in the fact that they have revivified

genres by using them for ideas hitherto exproascd claeshor©# or

by altering done of their characteristic featuroij-ör by-

conbination, "eire tust be able to recognize those genres.

3coont1ly, coma of the poems, though forßall very -conventional,

are or Interest--in-ad -tar as they uoo1; cnr©o w11 1ienry, ßori- has

adapted- in` bis Cälorlworka to unit his' artistic purposes: ý

aF yýý

c' Yik",

atuäy . ot the-shorter poems adds b. to tour appr. ciation of the ,d

bi+ ý

artlatio. aerita-ot, zthe' *ajor works.

1. ßatiarsotory study or this type of poetry Would bo soll nigh LmPOSS1bl® x1thout. the hoip or G,. Drown tud R. U. Robbin'o jfct1dd1 L rr iV (Tho N2ndcx octettiqý ¢Ne `York,

2. Thera is scarcely need to list the 'surveys' at these shorter poems which exist, occasionally taking up a whole psragraph, in the various histories of Gcottish Litcratura. They are but 'sp; reciations' of the briefest sind most subjective kind.

3. poems# omit., 1t lv-lxxvii.

291.

$s ors, we proceo3 to analyze the rrorko oeparately po ething

IMPt Us 6614 about the, ditt$culty�of ascription of several of

the posma! The tendency to, nsorlbe poems to well-knoTn-authors

W*$, of coursep wrideapread . manic -pogma w. ro falsely attributed

to Chaucer for inutanco. 1 And the toot that the earls®st

extant copy of several atyour poems visa written eishty orh, ninety

years after their probable data of composition raises, turther

doubte* But; of course, where, there its no contradictory ,

manuscript evidence we Wust aocept: the attribution; tore the,

poeu bait , gene poems, there in no possibility at. being able

to distinguish characteristic stylea_, or ý tones,,, which might

puggest an asthcr=2 anG the works.. nre too short to allow

groanatical or linguistic analysis to set up valid distinsulahing

cbaraotaristics.; r There are three poems tor, which the zenuacript, evidence

leads us to doubt . the ascription>to lenx^Jeon« Qb2 and 2

&U tß, ä of All is attributed to " cnryeonc by i3anuatynel3 the.

Maitland Folio records 'authog'sf irccrto'.. 7h. Thre Reid-E21,12 4

1-0 Bee WJ. Skeat# ed. C mit et k cue eC au e! 6'vols. ` (Oxford, 1894-7)t vi C auccr cn er ecee. .

2« PrlsaillA Preston to eowe. extent spoils her discussion of the sit: orahip of ni ('D1d Gavin Douglas vritýr KiM

4, ' , 4eýýa AMG, xucvi i, [ 1959] r 31-47) by relative -f neglect tAin or when comparing tho work with Pa. llc! e of ! tonpur. On the other hand her gran at1ca and

ra uL o uns sie is quite convincing. 3, toi: 47a. 4. P. 297. he manuscript, hmn been edited by t?. A. Craigio,

The xa 4 }k v HZIDt *2 vole. (U. T. ß. New 8orioa Tand 209, -19.19-Me,

+r"

292.

lo attributed to flcniy on by the 2taltlan4W Foüo; 1 the Oax x tyno

ltanusoript records 'tonic qip patrik Iohinetoun'. 2 No other

, poems by Patrick Johnston are extant but Dunbar records him in

hie Lemma Qr Uuek . Ift 1.71 a ongst the Qoai posts.

The Want or Zgl men, which occurs in the Chepman anä Myllar

tractv14 arA in the Bannatyae Uanuacript has no attribution

whatever. 8 Ith az' iea , tor its inclusion in the Hearyeon f.

canon tonst 'The collocation of the piece with Orpheus and irr. rrrýý r

F. uEXd122. in Chapman and Uyllarj not only. In a single tract but

with a. run-cm titlep it havo na=e weight no GTiaence, ot

contczporary opinion on the authorahip. 'g The assumption I

itself appears doubtful but when we look at the Cbepaan and Wncar text wel. Sin3 it to be evon morn sof for this is not. the

only case of. *a: ainZ1o tract)wLth a run-on title'. The last

line of p. 133 age -ma to finish, with no editorial indication

or this fact however, T ! in ji , or r)ieport or CChaucers another

poch, beginning '0 when b7 dyvyne delibarntioun; folloyo, without

editorial indication# at the top of p. 234. At the and of thin

poem the editors count 'Explicit. Bair ondia the mayng and

disport of Chaucer 2mýrcntit in the south gait of Edinburgh bo

Walter Cheppan and Ardrow collar the fourth day of uperille the yhers of god I. CCCCC and viii yheria' - there is no mention

P. 238. 2. lo 1.58b. 3. x�13, ONWas l le 48-51. 4. a 24'blen©ss an e other p912 je "'ýa t...

ýg Edinburgh,

pP" t-

Ghepman unä L Iler Printe together with the poetry from the Xakculloh und Gray U8£3o have been edited for the 8. T. ß, by ß. Otevenson (1918).

5. oars, -) c t,, it 1 vii.

293,

of another poeu. Again" between the extract fro= Ito PlYtinr

o! ' Ihznbnr en. M Kenn=e v and The Prni4 of Ale (p. 144) there is

merely one line space; the Praln of AIM has no title and

begins with a a=11 capital - no one has suggested on thin

evidence that Dunbar wrote T4 Prate of Alge, Nor has It been

suggested that Henr7aon wrote Ieviee Prowea and Eke Hu*ilitee ýr.. r. -ý. .. r. rr r rrr. ý ri+r.. +r,... r. r

which follows TntPra s of Alcrg (p. 145) without a apace and

without title.

©bei a 2ha k_ t dd or-All and The Thre Deid Pellte

must certainly be retained in the canon. But there is, so far

as I can nee, no valid reason for retaining juhe wan, Wyse Uen.

I shall not discuss it to mm text and include it es'an appendix

only because it illustrates the common use or a -topos iienryson

uses skilfully in his Fsbiý.

,_

`'f_

Fm ý° ý , _.

>,

.mýý. ý

ý.

ý p ý4.

o ° x

s,

ý e.

-,

; -

ý: . ý a-

i- +xs .m rr -m.. wa. ý. . +n w+ i v.. " _+s. M. ý.. ýEýýai N .. v=+. -. v . ems +t K vba+C .. sv-raas,. n ý: w- c .ý #ýk

4

294.

DI THE X? TDIVIDUAL TOE US c*"''

41 (1) Robono and Mskyno

Jobene rrd Lsnyne i1lustrLtob Ilenr con' s ability in

revivifying conventional toms. It is a ccaposite cf pautourolle

and ballad fora with allusion to other aonventiona which cake

Its tone very different from either.

ßrecory C 1th nttributed Ilcnr7non'c3 inspiration in'tna

Poe= to the French pactourelic; l V. Powe21'Jonca, accepting this attribution, pointed out a paatourelle which has many

c1nilaritiea to plot to ! enrycon's poen. 2 lila claim has been

attacked by Arthur E. Vooro`cho mmintainad that 'Robone_nnd . ..........

n-Yrt n, bears caspertiaiii1 recciblänceo to both 2antouraflo and ballnip but it ie' uncrlticäl to describe it"cc either .. a Hcnrpaonle poet ref. Lbloo tha typical pantourclle in that tho

setting is raral and the chrract©rs answer to tho'naie of

Robena cad Unna ... But further tho comgoriaon cannot be

legitimately extended. --'- It seems to -na that Adr. Moore has

ratbar overstated his cane. Ono of tho quoetion3-wh1ch we.

=at ask. is whether, tho qcm could have asau=eti "its, preaent<<

character. without the influence of the. paatour3lle torn. _I

think°not tor, ithere, are. many resemblancasyreaeablanosa. which

cre tar . more fuudaaente1 than 1 r. L4oorc toeuo - to think. It

ooe e -in conoeiyeble, that Hoxaon would have chocon tho name

1. S! n#. 1tt, itiv1.; ;. _. 2. 'A Bource for. Henrycon' e Po ja crdaLk ne, # U. L. tt9 xlvl

3. ' Hob came and U aZrne' , xli ii (1948)p 400-3; anti further in hic 1 tcu1n I ri in Mi dle rn lia (L x1ngton. 1951)# pp. T.

295"

Robeno If he hv4 no acquaintance with the typet besides the

same L[akyn show adze. resezblanße - an obviously intended

rese, blance - to the ccm=on pastouralle nage Marion# Uarot, 1

A cursory glance at Zart 8artsch's collection of pcctourellea2

chouc that alnas% all pastourellea quoted contain a Robin and

that, more often than note they, alao contain a Marion, or come

variant on that anno. Again, as Hoore himself mentions,

'there in the tact that the setting is rural', a fact that

Hanryson atreoses; most of the characters in the 'pastourolles'

are shephcrda ('borgiore', 'paatorel', 'paatorollo') and there

In constant mention of cheep and of the countryside. Md in

this setting the sole preoccupation in with love, no it in in

Hcnryson, and very, orten with unrequited lows the refusal

of the Shepherd to love the maiden i. e a ccu on starving point

for the poems znd otters too tre ending, lo unhappy. prank

expression of emotion in co : on. Now all those tactorn are

very important in Hcnryson'o poem. _¬ An ez¬mination of the

I. Yakyne is-e dininutive of Matilda-or Meld;, a woman with such a n=o is not of noble ranke Henryaon'a change could have-boen made nerely"bccause of difference. of°nationality - 3tri a it3elt is not, an Cailh gontond (Poetns, on cit. i, 59)#''1a-co=on nam& for a wo: aan or girl - in he - retour : leR. gut he, goon on to note: 'Lilo thu na i: ittob or t it

-was, at an' early' Stage ""in'<its history, -sometimes used{ in the dotorloratod sense of slut, of wanton'. The cxtunt of 'deterioration' can be! -seen by reference to Lindary's use of-it nn'ýn popülur na:: u for the teuule pudenda (. nI Cu tit1on An Conte? otloan of Syde Tni7lia 11.89--920

;. -r o r- f. r in' 'or- týi"+" ount oý d. Douglas aaer,, volt, J'. 1tT#Vj aerioap 931- # 1203 Aný

qý "'rn cf the, 1i fie -'qtr lt e l: '°1.920 f wn e, ° o' c, «ij ý: . 1911* 2. crryson s change makes Unigrass use of the tome or fin©-umur! -even- raore"-surer, zingwU3_zouuing t: l. --

20 t eý aiýhe n -tend pa t durel a eri ý Leip2ýg i870)* a"e.. .. - . y, , <. .. «. ... ewe. - '. i°»

296.

'pnatourelle' pointed out by Jones, ' and a co«parlaonsor-it

with Fobnne and VDIQM* will illustrate all those genoral points.

Robin is present in both; there In a 'Unrot au corn mignot'

(8-9) an of course Uakyne. The setting in rural:

Ior nein pcnala chevauchai Ios une aaucoio

.. * eis vu toocbooteeýgutrovai arder (1-3) ,

lenrycon'o poem beginn 'on gud greno hill'. (1) and there are

many retcrencoa to sheep. In both pocna the preoccupation io

with unhappy love: both show the Qonan'o unhappiness at rejection,

in both the woman express their feelings frankklys

10: quo terai? d'aver zorrai ja non vivrai as toi non ai quo 3'aim ai bien,

trop n'avra o'amoro grov©, so tot li mal on wont mien (30-35)

law dule in darn bot gif thoz-dill, Domrtloae but dreiä I de' (7-8).

And# aua in Hcaryson'e poem, the ending tu unhappy. These points

occur in =oat 'pastourell®e'. The 'd abat' characteristic

of argument mid counter argument Is also found in many 'paotourelles3' ,

as In these two. But there are also several points of close Fww -4

rear: blance belonging more exclusively to the two poems: the

happiness of the shepherd before being assailed for Instances

pactorel chrntunt troval, desaenint grant joles `(3-Z )ý

The weddlr 1s talr und I am fan* "(29)

Tho ditferenca-inxnttitude between theýcbsractere le nude explicit

1. f} xio RS snj-*n P. y. , ha Poe= lo

1 Pg by us

tourgl ee -(LO

je in

n (Leipz1g, 1870)t Kakerle,

297.

in both' po+tms. by the differing actions of the characterst l--

Cus qu'ele plore, et cii c'en r1t°' de tot son dit 11 eat petit. (29-30) verw. soi_ l'eatralnt mout doucanent: f° F ail to deatont trop dureament, (1+4-41)

Roben© uurnit, and Unikyne lewche; Echo cang� He sichit cair (123-4)

And there are rescrblances between. the plots - Robin will not

take the meiden when she ofteras later she rejects him. Now

I" ra not suggeatIlia, that. Saudes -de la Kokerie' e Does: ° i® Henryoon' to

source' "a introduction of the third. figure; liarot, in that

poem ohcn, ges its whole tone - Robin is deservedly rejected by

the rsiden When he returns to har after Uarot has rejected hisas

and as Jones has pointed out, -. there are no real verbal stmilaritica.

Betther ea I sttg4esting in this discussion that there ire no, - difrerenceo botsaea fen'yson'sý. poem and, the 'paetourelle' typet

the absence ° of. ýtho, narrator, cni, of the riding out motif, is on

oft quotcd., ex=glp of . the dtfterence&; again; flonryson has

constantl7 streesedJcertain", eleaante, . especiaal. y , the shoop., vhich

arc normally little -, =ore th3n. deoorative trappings, in lino-

with, -the rural scene°in, tbo 'pastourelles'js. tar reason we have

noted, he has changeLtbe no applied to marry of the ciaidons

of the French poe. -o from 'tarot' (or Ito varicnto, 'Uarion',

' `ariotto', "U röi®') -to 'Uulprno'. 'But, these diftorcncöo do

not destroy the, contention that ýienryson,! e basic source of inapir3tioäwas the_, pastourelle which dealt with the same subject in the ranee setting -and could; give rise 1to:, a; similar-plots;, nn in

8suice do In Kakerie'e lea, o Ie #? obene nc kvne would not have

been written in its present fora without the 'pantourollo' tradition.

298.

Ballad-elements in Robe arl Itak-MO haYo beßn pointed out

before. : There are both resemblances to, particular-balladc, -,

and to the ballad . form in general. Uoorel has pointed fro the

fact timt the opening', of our poem recalls that of the ballad

T. o omaf ;d Fnlt et2 w4 that- the proverb used by II ru7eQI1

as his "moral! IS- tcuna: also in the, concluding stanza of the

_at ig4Kgjr , kt. 3 fore goaeral]y# both the allitorativo torcatlae

crick recur conntantiy - throughout : the poem4 ,, crud the-verse Vorn

tyre related to ballad technique. 5 The directness and simplicity

with which the story is told are also reminiscent of the balled

fors.. ew But this is s L- ballcd form -pro hale already eoan

thnt the Doers Is, radioally influenced by the,. Daetout'elle, form,

It is also heui1ir alliterative in nature, not merely is its use

of alliterative for-- lae but in. its very otruoture" One Mel

cite for instance, the firnt stanza in which the first five linos

each contain' . tiro alliterating nyllablee; the otanza ende with

two liners in which the cumulative use of alliteration for emphaaic

reainda un of cinilar uco in the nbi1list

Mr duler in der, bot sif: thou dill, Dortleaa R but dread L de ,,

(7-8)

1. tRobene--eM üakynet,, 92s lt. , p. 402. 2. ed. BI: J. Child, ` ftrIleli atP lr. ý nct n g" 5 volo.

(Boeton,. 1682-98 , no. i 119,162* 3* IkId. me ý, i 112D, iii

4.11w , are -point edoat'bySmith in hie`not©e to* the poem Y ds a

5. Ct. Loore ; -"Rob-one and u e3prn©s D. 40 3 and note.

299"

116=1004 imports into ' his work a surprizing tone with his

use of, tuo te=a and concepto of 'tine amour' In the third stanza. 1

is havo already seen that Hour. -/son has e aphaaized the earthy

nature of Als c2iracter© by the very implications Of the nu to

Kona; the $=a e1ezent can be soon in Ualcyne' a open expression

of her desires (7-8; 21-2= 36'40). The fact that the characters

area shophards also would ceem to ro . ove then from the world of

'fine anour'. In esaencei Henryaon'e addition auggeßto that all

love la of thin kind no matter hoer refined it may caem. For, it

the poet a= be said to have a there, it is that human lovo Ia

fickle and destructixe, -, never At Ulllingj breaking down the order

end hnppinese of creations While Robene fed hie cheep, end

carca nothing for love he wau happy; in har n with naturo:

he oat on a 'Cud grans hill' (2)# knowing nothing or love (10);

F "s"', his ohoep cymboliza hie order and that of the univoroe about hiss

he

... äeipii my ach©ip ur4ir gone wid, to quhnlr that rack on raw s (11-12)

It acezed to lila that Ua1c no va® 'narrst' in 'mule' (13)

The IYodd1r Ia fair, end Ic fans my acheip sofa haill aboif; And we waid play us in this piano They raid us b ctigth reproif (29-321*

1. For t o-torm ! fing- moury- and its--preferability- to- the- n--. - nineteenth century -coinage -Ycourtly, dove 1, see D. ©.

_ Brewer's

Introduction to his edition ot. Thear1, ea al - 91, Fo " London a xA . Edinburgh, A. 960) pp. ° ý'-fý. ; "or notes : ox the

proviozs occurrence or,, the term used by Ifenryson ©e® tt? ood,, X tja Fb, a12* 21 12# p. 267 and'Moore, 'Roben und Mu yne' ot. oo t t. , pp1402 notes 4 and 5.

1500 0

tilo main concern wau that

he went away: 'ale licht

hakgno had euffereds she

541) had been extremely

49; 'u 11 oair'. 58).

und attacked Robene - end

whereao at f1rots

bis sheep should not co astray (143-6).

an loif of tro'; (66). By contrast

had thought sehe would die (8; 39-140;

unhappy ('reivio men rolf and rent'*

3ut love Is fickler love left Ltakyne

her characteristic became hic. Co

Robene on his wcyi e went lila . licht =as leit of trat catkin =unit in hir intent (65-7)

later:

Yale went haue blyth anncwchep Attour theyhoittis hair; Robene uurnit, and Calkyno leach Cabo sang, wie sichit aair; (12-)

Now he lived in 'holttis hair' (122,128) not the 'gud greno

hill' of his original state., ' ` °'

x«ý''_ _ý ý' ° '' ý'

+d ý ýs s)F

1. In 'this context I cannot ace how 'bone' (54), ccn mean serelyp'. 'woo0--as

. S, tth "ax4 Mood T-auggeat in.. their 'gl9ssarloaf it must. baits the lmean1ng givcn: in: D: O. a. T. (bane 'n ; bons n3) or c1ther; jL. 'slayer -or, destroyer', , or 'death or dcatruotlon'.

301.

(ii) Sort Praotyaiafiot--LLodecyne

lle=wonfa poem can be fully understood only by an ox=ination

of the traditions in thicb it wao written. Thoro ace= to no

to be tour traditions which have important bearing on the pork. The first is that or attack on, medicul. men of all typca:

phyoiaions, surgeons, apothecaries# This tradition was.,

widespread In the Later Mid ale Ages* go rind it In poetry.

i. e Ronan de In Rode, present© the customary attack: that the

pZro1o1an'e actions are tainted by greed for gold. 1 A Poe �a

the T1ree of ýdwnrQ IT2 shows a oi, ailar attack; but hero the

greed for Cold is matched by incompetence for the physician 'can noht don hin work':

aas. And bring rotes and rimes brat ful a male off naht;

Bit. ahal be dare on slek, whan hit . is al i-rzrouhte

as Yole preisen hit 1-nob, and-. seerea an he were vod, For the hing of .

the londr. the. 4rink, la riche cnd god; And

.. 'ere the. rode.. san-. drinke a., god qunntite; Aza3 aak hin

. rorsae . than he xýratf R-evele zaot he#tho:

that clerk ThWeo Leteth the silver, and can noht don hic work (226 Z4)

Gower, in h1 s_ fro ' , de 1'0=3 eleo'ittecks phyoioicns (11.25621-

80) coupling them with apothecaries who are merely money makoro:

1. Ili-5991-5118; -ad* E. Langlose, 5 vols. (ß. A. T. P. , 1914-24)

2. t

". 'T4 ,. Wr ght,, , pp" 32 3,9 oä. O. C. Yacsulay, lbo -W John ,A vol3. {Qxtord, ý 1 99_19a ), r , he ýrcnch Works )p 3-3349

', O2"

Car oil ýqui de leur-ordinance' ` Ucer voldra d'acoucturmance Le ciriacp at Is lettuairo -"`. e I'. '), Trop pout languir on ©operance

rs D'amendeaeat, car tlele ueance at a nature trop contraire (25639-44)

Langland urgoo diet on his readers: then pb roiciano will have

to cell their furred hoods and precious possessions

For aeorthereres area cony lecher lords ham azonde: Thai do man deyo thorw here drynkee ar destine it wolde

Chaucer's portrait of the Phycloian in the Pro1opue alto contains

satirical references - among which is a hint of we xerc nary

nature - as cr. C. Curry2 and Muriel Bo'den3 have ohown. Bra. nt4 berates the Fools who k=n nothing of medeaine yet practise, in

his chapter 'Of folycaho Fegycyanc and unlarncd that ono3y folove

paractyke k owynge nought of the opeculncyon of theyr facultio' :

sho that nsaeyeth the craft or raod. ycyne Ageynat the sake and payrtull pacyent And hatte no inayght, cunnrnge nor doctryne äo cue the coke, helth and nsendenent Buche is a foie, and of a =ad intent To . tak on hys by Phssyke any eure flat knowynge of mans, nor herbe the right nature;

The poet coaplains that:

A°herberor-wade that. groweth upon a wall Beryth in it these afoly® medycyne. None other bokes baue they.. nor'doctryne.

1. Piero Text, -'Pascua-VI, IL "275-6) cd. ßkeat,

2. Chaucer a11i the Medieval f clence©,, _ov. oit.. -pp,

2,7n369-, --.,,, 3. z , th n Cal, Ph ýC tb -Tale (Uow

4. The rhI2 -or- FQst- tr. -'A& 'Barclay p , 'ed: °T. Ho Jamieson, 2 vole. ( 1inDurg 1b 4) *it R64:, ` ,ks "" °+" 6-i +-}n. fa, /

ti. x 'Wm

or 444, sat 'fw e, i SYdX! w

303"

They rely, on legends concerning herbei- 'orten using the: same

preparation for all diaeaeee, and not reading medical'taxtbooka.

These P clcluns are like lawyers: with no knoTledgo they

attempt to beguile and. rob the publics

- Thus thou-that of Phesycian haut the name It thou nought knowe of perfyte nsdecyno It is forsoth =to for rebuke and uhn'ne To boate the acycncoj

There is perhaps too a hint of criticism of doctors elsowhere in Uanrjson's own poetry: the portrait of Licrcury in aha Teotazent

of Crenuaid probably contains ovortonoa of criticism:

Dootour in Phiaick clad in ans 8karlot goun, And turrit ereil, : na eia ane raucht to , ba # Honest and guile, and not one word culd le (250-2)

The denial of untruthtulneca and dithonoaty Is an indirect way,

perhaps, of hinting that all was not wells all was attractive

and proper on the outside but we are left wondering about the

cotivea of the doctor.

Critioiez of physioians is not to be found in poetry only.

John of Ball sbury' complains: Z

They w eak aphoriaa3 onovory süb e'ct _ cnd ==e ' Chair hearers Tatare at their long, u. oTn'ard `high-8ouriding words. Tho good people fboliave that

-they-can'do , auytäix because , they pretend . to =all, fthings. They . have on13r. T tvo ° mazims 'h1 ch they : never violate: 'beaver mindiths poor: never ?... v refuse money trod the

s wr y : dý, ý .. °:. "ýý`" t} per -"3 Tý , rrt a- ae , 'S Fb ý'"° r a... _aý. i- "9v r+ x. -R, e'F`

1. For later CQottiuh oritioi'. * ot.. a , partioular""doctor", sae Dunbar'e Dnllc f U2'V2aXgjj r- i of

2. tr. John Ylint South, emori as ! ar the aft f cu In nglaad i, ý, od " .

DG'Aroy- kowo r London, etc., 9'. = rb p" '0

.pt

OZi"

Potrarch, too, wrote criticinait tnveotjve Contra UcxlicUM, l e

2 0115t gives cev©ral exa p1©e or sermon material containing

critiolea of doctors.

co have found then quite a considerable tradition of

criticism of phtsioiana : in the Later LUd4le Ages. The criticicz

is, " of course, bot cued at ned©cino as auch but 'aguinut

fraudulent praatitionerst against ignorant, against pr©tentioua,

agalnat ßorcenar p2,7nioiana; , even against Individual pbyoician3

showing these characteristics. tie must next diaaovor what

roiotion Uenrieon'e poem has'to this tradition. There is the

accusation or ign»ranoet this narrator's worde# though aimed

at another, areº roally a retleetion on ýhiD own character - the

poet hero uses A°aodification<'of : the; techniQue Cocmon . in later

nedirval poetrj-to incrimate the narrator along with-the

principal characters. - Thus Ill.. 7-9, and 14-17p maintaining

the ignorance of his opponent ssrveýto illustrate his own

pretentiousnessýand"basic ignorance. ° Furthers tZ ay e -`ý -1 1t h

14 a3. Pier Giorgio Ricci (Rona, 1950)0 %To, should note however Thorndike's points

üe =(Petrarch) night1 srits: to ßoacaccio, " on -then. ,c nonsense of astrologers fußt as he wrote to him oaths audacity anl; pomp, of -physicians. # .:.. sf ss He might assure Francesco Bruno that astrologers -tell many ' lies . nd heinight- compose four books of invective against one of the papal physicians.

" #- -but °-he'nuavared--anonget his ý esteeaed ". eorrsspondents.. ) such prominent medical man of the century as

-Tosaaso des ,, Garbo of Florence ; and xJohn di .: Dondis, _ . of Padua ... : hus his attitude seems to have varied with Hood, circumstance and the person addressed.

t fmýta SenEýc sn e1P $. vols: w: ý zs ton and Now or c,, 19,23-4bj , 220-l.

2. ? ttýrAtýY eýaF Pu2rtt in Meýýývel°n_ý1nn_d! hý Mcitý, ý 77.7

3059

Is nadir fevir. t nor fell, thut our the Solld Eure, Soiknea nor aairnoa, in typo gif i cold, Bot I can lib thaze and leiahe thane fra-lere and lesure, With salvia tha« s sound ciak` .. LL. - '(18-21)

There ere also hints of the narrator'o mercenary motivcos

T, In ane falloun ... Yeav. aýrclaap to this cure an 'e will LuaIt coatce.

(6(74) D

There In a hint too perhaps of that collusion between apothecary

aryl physician which Gower and Chaucer denounce:

on your eaule bead, That re bea sicker or thi oý sedull I send your, with the h rnIj eeggis that glean all egeis of malls to moniyot With diva- and dreggie. t (21-25)

U. riht note in passing that Ilenrybon. 'a physician in breaking all

contezporary lcicaie of a SOO& Pbysiciaat

Pore men helps he bi hie * t. rind of Pe riche men axe he flood reward/ Praise he nou3t hiaailf viphis owns - soup, ne,: blame he nou3t - acharpliche ttiv lechis; love he alle lochirr and clerkio,

bi' his m7 3t make-, he , no, lache : his enesye. Co clope he him wip vcrtuca, pat of him mal arise good faze and name;, sind pis xtechip °. etik. _

Co lerne he tiaik# pat he mown wi good ruhe his surgerie defends-and pat teohlý, fisik/ Nepeles it is neaseesarie a surgian to knowe alle pe 1 parties, aud-ech; eengle partie of a mcdicyn ...

For this poen - hint like those I have quoted - is not an attack

on zedia. ineµaa.., tuch'but an'attaok, upon the , Xgnorunce, pretentiouaneaa

and mercenary sotlrrös of -se" of Its practitioners: ', perhaps even

of an individual'-=jai'Dunbar'$ poem"abused 'nn'individual though

this cWot, be ascertained -nor. ienryson! a poem, Athen, -shows

affinity , with. tb* trsditionýof attaot : on midical aan=for their

A-I

ýýr. "ý;. ýý. ý n$

The second tradition to which Uenriaon'e poem is related 18

1. Lnnf ankre "Helen eoC rai ", ad. R. Yon Ploiachhackcr . ý. . cý. tý. tý. IU2p 1094)p p. 9.

306"

that of tho varaiticatlon or medical presgriptiona. ? ydgate

shows aoaething of this to his '14.1i; rzan u_1 ctrine too

P2 ei 1 lonce; 1

For helthe of body keep. fro cold thyn hod, Ste no rage meto, take good heed horto,

Drink hols": m e7n, roede the oa 34 , ht bred, dith an appetite ryse from thi mete also ... (25-8)

But actual progoriptione uer versified toot'

ffor ye Eowto Take j. i'of rubarbe ful aney, And as : mekyl of eysyl I ye &cp 9 And, yt ye eyayl be oharp ' sowre And mega it wt a porcion barly Slour, And on a ! laxen clout opred it olono And bynd it yer, ye govrto is moat een© Ta: t olyo of rubarbe t a1emad

fror yo Loste Yt veil togodir bä t©porid. t no .ý , pd fostyr 'fit yia playetor of flaxen olowth

Ayn4 ye aoor feeteryd vc1 sbo rto; .:. And as rood lecbya alle eeyn

Xen zul yer to no oyer ; tbyg.. lcy (169'82) 2

2h e example In tak= troy, a fourteenth century. mcnuecrlpt which

contains almost 1500 linca of proscriptions. Harrycon's poesy

ras Tritton with srsch a treatise in. ßind no we shall ace more

clearly zhortly. . Ifia poem Sa, not _the . only vork.. in which auch

prescriptions are bur1esaued:

1. The Ulnor oo J52110 Ida, ed. MacCracken, ii, oA, 1 cit. 2- . Cr. 8180 two poems In the i3annatyn© Manuscript

Guha Wald thair bodyia hall in heill' and 'for heath of bodjr. couer., xeill thy. heid'_,

_ Jl $c1l2t,

*d. ü. ; Tod Ritchie, op. ctg X75-&.

2. ed. ý o. ýýote, hens, ýý¶ ztracta in Piö$eiänd. Y'erae from an Old 1. ngliah t odical : anuscript, precorvcd., in

. the . Royal., hibrary

at ßtockholn, 'Ax haeo! o#i a xxx `(1&i4) , "349- 1418. The - rr article containa, a-longýpoear(cited>by:. line,. nunbero-only in shy notes) -and prose extracts (which I shall cite by the page nuubers'ot Stephen's article).

. -..,. _. c_.. .. -

t-, .- w'! ,a

}pes "_ ',

°. ýa

307"

A Road is jAXcvn for nor even, or a =an that to almost blynd

Lot hin co banced all day ageyn the vynd Tyll the so3ne be rotte;

And than wrap bjn in a cloko, )a-4 put hyn in a howa Pull or =ko

And loke that overt' hol be wel ahett. And Lhan hic oven bogyno to ropo, Fyll hen full or brynaton and sop©,

Az byll hym well and varßo. And yf ho ce not by the next none, As-wol at ydny3t as "at none

I chat lose sv r 3t `urmal

Though tha alp of the two Poo= Is similar fenryaon'a poem to

nearer the actual prescriptiono. He ucea the came wording and

conctr1otiona* tho uo3 of 'dial In co==n iniprescriptions i as ßrcCor7 CaºSth has ehown2. The conntruätion 'Cape cuk mild ... f

(27), 'Tnk Lavin cobble 1© © normal wqy of beginning

o prescription - we eonparo `rich' 'Talc ßw8 of "rýibarbo'3 or 'Tak

thre hrnful'of yo ton's'or 'Tck-the Iuco or Po herboa', 5 cxunpiOc

fron actual proscriptions. '3izilarly, 'Recipe, tiro rugglo

of the read ru: co ... ' (40) 'and 'Recipe, thre uponfull of the

bank op ce', '(6 3) ia"a co on proccriptioi beginning 'ao in, for

instance, 'p eglr, g pa Iuyco or'e alächo, or horch ... '. 6 Tho

assurance of `ücnrycon"e narrator concerning the efficacy of his

eedeoinse

1. reý Cn t th" Pifteen C ntu , eä. T. Wright Percy Cociety 23i Londons, , p. 23.

20 22L %1 1e 73 notes to --1. 25 and 11. 26-7 e cue- . -. 3. Stockhofz, Ue1ical. ltanuccript; ed. 0 Cteph ano, or'. --ä t 1.169. 4, l id. , 1.297. 5. John Ardenne, ai of Pie u In fto s- iinemor h ido r

Cee fron af ifteenth century manuscript translation, ou. D Arcy Poorer (E. E. T. n. o. ß. 139,1911)v p. O.

6. bam, p" 30.

338.

This din im rycht deir and deintoit in daill, Cauca it 10 treat and trove ... (52-3) The ford folaik is ryne, and of nne folloun= pryco, Gul for haloing, and hosting, or host at tho haart; (66-7)

- can be paralleled too, though Henrycon'o uao is perhaps

exagrorated; exaggeration was part of his oatirioal technique,

on we shall find. Thus:

v_o_býennand featýý_ýooý_oe4iainý ... ,.. Anoyer jaeoycyne L i1nule wrote- also

Yat to ye cold dropecye In good to cioo ... ... Afore ncc1yccne Set toile I can ... 1

. 1t oiailar parallel mry be found at the and of proscriptionat-

'Sa Cud for the tont'. (78) arA its exaggerated form 'Is rocht

bettir' (38,49) has aimilaritiea-to the aszur¬nce of the

prescription, ending: 'he ochall haws helpo full sons'. 2

Iiezu7eon's prescriptions too make use of. -herba3 'colleralge ...

"owroklo, the- sop of the- oege ... lawrean and . inset seid' (27-31)

so on: just. au the presorlptione, do. . Aral these must be,,.

guttered-, at the . right 4 -time: Bot. luk: cnhen ye Eaddir., ' thin, greeals. end gerne® outhir aovrand or sour .ý,,, ý4 .,. t, - That it be. In ras: good. hour (87-9),

Ce conpare_ vitht FOtt. ý. _. ... ý In yo nonyth of august allwyoe It =vote be gcdory4 or cone ryoej ...

... Who co well on h=ouse day Erly on morw or sore ople r3 Coders ce2ydony 'wt' hic mote

1. t3tookholm'iEe4ica1. Utnuecript, od. 0. ßtepheno, OU cit., 21.1201,381-2, ' 291,

29 lb ä ,. 1.. J". I

30 LUj; ss 1.473-4ý 645-"

309.

azýd with lard pa aua role Pe soda doo, it it be gadered at corwe / before pe ain riot and 1ey under po pacient hede' .1

again 'aers ainieter this medecyne at evin to im scan' (83) and '1y ng all thir in ans sass with the none crake' (46). For the

physicians, just as the surgeons, must know the 'hours' as

Curry has sbown. 2 Sot 'Sicunt volunt Astrologi summ' vidolicot

Ptolomacua, Pythagoras, Rhuais, Iialy etc, non debet cirugue

incidere vel ". irere in aliguo sembro corpori® hunaul nec faccre

phlebotoaica dun Lima tuerit in e1Smo* reEnante, lllud menbrui

... '. 3 Once a, rin, then, pro find Ifenrjcon making use of a

tradition: he mskea use of the feria and content of typical.

zedIcal prescriptions, (the very versification or these proscriptions

was a tradition) end he uses then for. his own purpoec exaggerating

them to pour. scorn on false doctors and their false presoriptiono.

But is aust'noticsrthat it is an. exa. ggerstion not quite-as great

as we sight thixi .ý We consider such prescriptions es; 'Also of Paz. Pat reetreynep, blode bene is*: Ilunae, bole ammoniac, Bang dracon, lure, aloo, vitriol conbuet, puluer of

heres of cue hare, Brent or not brenn Qului s of. banns? t'epors brent, . medled, with white of aas ey

crs

L

2. 3. 4.

,ý __--

ileCRIrump Oct. U. vriax tine k; ngüeh institute in the Un fers ty or-Upsa2nt -"'ESsays tai 'Stuaiea of tng1ißhb

19 9ýf e andýLiteratursr°eä. `°8.3. > LilJegrenr ý3r .

Upsala, --22,

, usw CW the 'l edisraj,, offer. ^ser oh :, PP"_ 3ý ri'.. ýrtiieruie; ` ýrentýaýeý oý`Fieulä! n Ano; 'Sý. cý p" 16.

310.

For ya route gcyn©ý rf c11ynro aryl l

Or, for loproav

Take Roß bryddya all quyke orte of here noate -t loko yat yoi toarche no3t the ertho nor yat yei corny in non horra, t brine hem in a now potto all to pý -j 31f it ye coke == to

kyn

three black serpents are caught, their heads cýnd tai18 to the measure of three fingers are cut oft ar4 their middle portions burned in a now pot; white soap and oil arc added and they are rubbed up in a mortar until thick like 1onoy. The material is applied for three drys am l th© part is washed. If any of the infirmity is left on the patient cut oft the head of a tortoise, collect Its blood nn no1nt the affected parts with a feather.

. But unless we realise that Henrysoa is using this tradition wo

ales tuch of the poem's meanings such misunderstanding has led

to the ©tatez4nt that this poem belongs to a class of poems

which are 'no Hare than occasional exereicce in sheer fun' whoc©

cola aorit Is that they have 'perhaps a touch of protect against

the mors orderly cmd derivative style imposed by the ruling

tai hion in verse', 3

The third tradition that must be examined in relation to

the poem is that of verse form. The, form üenryoon uaao is the

coon form for the alliterative tradition in Middle Soots.

F. J. oura4 describes the forau the stanza is

1. atockholm Medical Manuaoript, cd. 0. Otepheno, or. cit., p. 397" 2. Translated Prom B. U. LW. Add. 26622, Pol. 134r by J. D. Cowrie,

iChke, 2nd adn. ,2 vols. (Wellcome Historical eäical useum, London, 1932), i, 87.

3. Smith, 3oe a, Vi i, 1, lxxiy. 4. f'4tt1Bh Alliteratiyo oemg (©. 2. ß., 1497), PP- lxxxii-lxiii.

311.

'conlose4t of thirteen lines, and is divided into two partu. The first part connisto of eight lines riming alternately; the last five lines form the second part, technically called the "wheel", the first and laut lines of which rime together, the three intermediate lines running on a fourth rime. The rice scheme is represented by the following letters: ababababcdddc.

The first eight lines have four accents or"strongly stressed syllables, and so has the ninth ... the last four lines have two accents. The long lines are divided in the middle by a pause, there being two accents in each half-line. The number or'- weak or unstressed syllables in a line is undeternined ... '

An A. oura shows this scheme 10 used by the five alliterative

pocmn in hio'collection and in Dunbar's llod .d

Kam;,

Douglas' Prolo to the E1phth Book oftho /cneid and in the

first stanza of Lindsay's Ane Oatvreof the Thl: a-Rataltla as

well as in Kenrycon's poem. There are two virtues of this

fora for Ftenrycon'© purposes the major words are net off by

both alliteration and stress - Dunbar, similarly, in his

abusive pocns (cf. The P tting, and Ana Ballst of the Fenveit

Fri' r of fi vnr1nrd) uses heavy alliteration; secondly, the

irregularity or the metre, here, serves to illustrate the confusion

of the speaker's mind (this contusion - the pretence at learning,

yet obscurity 2s also ehovn by the studied difficulty of the

diction). The poet is using satirical technique no opposed i. r- ,. +! c .q 'z Q"":

'4

.i+. <-Y- -5 9 "y e;

0 ý, ýus, t ý'-w }Yt. ý..

ý q

to that of complaint; he makes his points by innuendo - however yX A k. #3 "ry "+v

obvious that innuendo may be - not by direct statement. His aim

1. Ct: ° J. ý etero'Com hint and Satire In Far n Il ph -plaint those 7. itarntllre (Oxrora, 1956)9 pp. 1-13 for diecuoo on 0

ter.. s.

312.

Is to sake the object of his acorn seem ridiculous to other

eyes. And not only does the verse form help to do this but

the method of exaggeration: and this is the fourth tradition.

Making use of materials provided by his chosen form, he

exaggerated in two veys: to absurdity and obscenity. We

might instance 11.27-33 as an example. The mixture of

absurdity and obscenity saß a common one in the invective of

conterporary poets; thus in Dunbar's &e Rau nt of the Fenyelt

Freir o nF, 1aA4 we find:

The polk, the gormaw, and the Bled, Deft hiss with buftetio quhill he bled; The Sparhulk to the spring him sped,

Ala fern as tyro of tlynt. The tareall gait h-m tug for tug, A stanchell hang in Ilka lug, The pyot turth his pennis did rug,

The stork atraik ny but stynt (77-84)

4vea the technique of taking a Porn and exaggerating it for Its

ridiculous - and thus destructive - effect was not nears Chaucer,

admittedly with a very different type of poem, had, in Sir Thflp, o,

ezaggorated the rozance torn for a satirical purpose.

sie have found then that vary little in Ficnryoon's pooh is

narr. But the poet In not =oroly recopying material; as we

have coen in other poems he taken and adapts to his own purpose.

A well-tried csbject of Complaint Henrycon transforms by using,

with satirical intent, a well-tried didactic genre; this genre

he gives a verse form previously _used

in other genres and

adepts techniques, used elsewhere primarily for vilification,

to his satirical purpose.

313.

The renaining question that must be asked concerns the

degree of seriousness of the poem: there has been no denial

of the seriousness of the poet's attacks on lawyers, on

unjust noblenan in the rabiýj because the poet uses a

different technique there is no reason to doubt his seriousness

here. The subject has elsewhere been one or serious attack,

as we have Been. And the alliterative technique and rugged

verse form were used for serious purposes: Dunbar did not write

/ne flauet of the Penzeit Friar of Tun 1gnnd for comic relief;

Skelton uses irregularity in his attacks on Cardinal Wolaeyl

which ware certainly serious in intent. Henrycon'o poem then,

is an attack on false physicians whose ignorance, self-aasuranco

and mercenary motives made them obvious butts for attack. The

statement that its prime purpose was 'to expreae the sense of

freedoa, or the demand for it, which is the excuse and motive

of the rough flyting' and the hint that its sole effect was to

2 amuse its audience cannot be proved.

St. we --h

ate- ý"r ,s.. ,. z.. ,. w`

'r: - n'. Fýýig.. F ýb x .,? ý�... aa

ý8 g 'ý s e acv. .aA, ...

ývY ,. ý_

1. Qt 2211 u- Whv Come Y Not Cur, edo P. ry eräereon, hmem or hn kt (London and Toronto, 1931) pp. 259 r res

ci r

314"

(iii) Ana Prcyor for the Poot

Outbreaks of the plague were common in fifteenth arm carly

sixteenth century 8cotlands a Llcnce at the Records of Edinburgh

between 1498 and 15131 ahowa the Plague almost continuously

preuent cM wach cpidc=ics were not uncommon: there wore

oaircral during 3isbop itannecly'a epiecopaäy at DL. , Andrews#2 for

inotcnce. An Gregory C ith points outs 'There is no internal

cvlacncc in this poem to help us d©terainc to which of the

plagues of the fifteenth century the writer referc. 0 But such

intornation would not help us in cm appriciation of tho Dooms

the prgtcr e : bodied in it could rafor to any or all of tho

plaýýoa - Juat an a, prayor, or oequcnco in a, 11asa for tho Poatiicnco

could. For, as we ch: il incraaaingly discover, it is not

"oaentially a personal prayer - setting -forth personal ozportcnces,

or e tiona or needs; *it it the, typo of prayer that could be

prayed in a community, a general petition for the noedo of

co=unity and nation. ,,: 'And' an euch we -. shall . find

.. the influence

of Cimrah teaching ead Liturgy to be iaportant.

I . think we shall ftnd. ýtwo*ajor4Influence a , at'. w rk in, the

poet, influences. which giYe 'it both. yits

ideas-and° its tform. 44

They er. religious and-literary traditions though it is perhaps

dan, erous, to: distinguiah'too distinctly-. tor"the"religious

trod itione-oftenýinspiro literary traditions-so that It'is=often

1. trscte, fron the Records -of - tiie='Purai of . di burgh'3J 3-1524, ea. '. u. , xarwicx tt eottiaX1 uurgh Records Uoo1atvt t lnourCf, 1869), pp. 72"141.

2. Cf. Dunlop, h f© and Timee ofJamoo Kennedy, op" cit. pp. 267,270 and 3cß-1.

3. ^- ", Q, b,:.. 2, i,. 1:,, is, 77.

315"

lapocaible. to diotiniuich the ßore, importrnt lnfluence, on, tho,.

poet. uC shall begin with the religiouo traditions..,

Tho. poen otatea that the roacon for tbo p1c uo voa the . p; oplo'o ein (6,51-2). Thlo, concopt derived largely fror

tho Old Teatcsants Bambara ßc14,11-12s *Lt dizit Doninua sd lioyacns,. UOQucquo detrahet mihi populus late? Quonaque non credent uihi,, in ownibuo aignlo quas feel coram eis? Feriaia igitur coo peatilentlap. atquo conßunmj

Agin, the ark brought, plague to the Phillatin®o (I E . ̂uel jI Rag=]

v and vi)s Davld. chose, three days of plague frog the different

punlo ento, ottered hia for robolling o alnat Goas Z Oa uel (II Reg) zziv, 15-16: 'Irnisltque Dominus pectilentiam in

Israel do no uaque ad tempus conotitutua at &ortui cunt cx

populo, a Dan usquc cd Bercabee, coptuaginta iillia viror-uri'.

The idea was prominent in the, medl : val Church: we rind it In

Pope Clcssent'e `Lass 'pro mortalitate evitandai1 ýrhicb, conpocod

1, bt naft1eyd- t }I i is ePeaa &caleolm® (nm, eci. Yo Ho nicLtnson° g urnt s and, 18]. -j) cola. dbb*-b89*# This Uaae, aad another to be mentioned, are not contained in the later edition of the Carum Rite, The Barm isen

ree early, ut 'ed. .ý tcxaaý Legg . Oxrord, 1916)o For a translation or the complete niaaal see TDI m, tr. ý: P. E.: Tiarren, -k2 . Yols. (The Library or turgiologjr and Ecoleaioloyy for English

rReaders, 1ed. V., --Staley, 8ýand! 9, tLondon, '.; 1911).,, I: hairs felt tree-to use the Carom ! lasal for it was widely used in, 8cotlsndv-in. later mediaaval. tines. (introduction: to.. Fattolare In Usum Fceleaine Cathedralie Aberdonensis. Oa.. ". scsren ýruinöurgný; 1924 i. Pp"ý: xi-xlliý. _., -There area-,. also two interesting Uasses - -gmoplagal und 'pro pestilentia etytameµ!

r-, in the Arbuthnott Uieaal: Libor? ccieeie BeatL

1r xn ý9oU*, . 4. A. Y. Forbes (13urntislend, s°pp" "ß" "

316°.

to co=bat ! more cubitaaea!, had -obvious aigni: ricanae for time©

of Plague* In the Office, the anger of God at-the E rpticna,

and the resulting plague brought about byýthe destroying angel

are recalled: 'Rocorlare, Domini, teatomenti tui, at dic angelo

percutienti, cenaat jaa c=ue tunt ut non decolotur terra: at

no perdas ounez animaz viva'. The Collect recalls the c= e

conceptions tut dur tibi devotus exsietit, iracundiee tuao ab

co flagella clementer'amoveast, ; "The Lesson is from II Kings

zxiv, which wehave already noted. The 'Oftertorys 'Stotit

pontitcx inter mortuos at viventes; habana thiiribulun aureun

in nanu aua:, -- et. otterena izicenai saarifiaium placavlt cram

Donlni, at coccavit plaga a domo at a populo Israel'. Similarly

in sequence of the 'Lhasa do eancto 6cbastiano, tomporo pectin 9

we find: wt -a aQ

nos: pro°, nostris tantis malts jam rbsorbet : pestis Italia; c, ' _

quam totaagenurgs itv -1 Ca, notemrtyr ßebastiane; ealva nos a paste opidemias, = $i L .. nostra gravia ob peccata

-terra °istd desolata Y, . ft ;h

non cit, pie quuocunuo;

again, in the ýaaraL ° of thou -Wass i r!. Subvoniut =bia, ý-Doiaiao,

tua, miearl cori: ia,, lntercedeutcwb®cto,.., Ucbanticno-mamra. tuoj.

ut �b i tq tib3s reccatoriimnostrorumperlnuliz'-`Is mars mur"'

protcpi a` salvari--a... . 16, sconcoytlone. i¬ c1co77tount'in': "`"

eermonstý "Wulfsta. n ehöwo rtthoyconncctLon 'bctween sin cnd sicknosa:

'21to L'cöri. 9"-

r -Tf ýý-.

,ý"ýe ,ctn mýý ýgý,

w. i, ý tae

.ic

i .. nt. 1«3. $ " -s w. ý' 4':

i: -Srhiv,

'rýý ".. M_ sc wn '

317.

.. Forstas hit, ---in on. us eallum - iwutol, and . ', gosono pc3t wo or j'ysan ortor braicon- }onno iwe betten, =-t7 is ? lose pcode tale onz ge. No dopte hit nu lange in no utc, no was her! cs hunger. *** orZcWealm or , uncotu ...

Of course the concept gran reflected in written history.

Vritoas 'About this type the post was ryfe in

tl

ecotland, ýcheiflie in. Dundeii Abirdinep. ý and in 8u: Ytheria tounea and dorpoe, quhükes. a hail yeir skirslie culd be clinsed,. that all ma had this opinioune quhilk was comaoune and evidente to aindrie, that God had plcJet the potpie for their cinic co..:. itted

- cgainst hin, throich his Just Jud ent, _with thir thrie 2za. "sio plnigie, ueiria, dcrth und post ci at ane and the seife eaa tyme02

Z. a1i©

The concept is shown ̀ in üteratuzre too=3 in A Wuran+to b.....

(8) pö°RysinZ-of, "pe�comungeä 1n' Londe ""PC, '-Deetlbeaa and po eorpe quake; peose preoipinces, I understondo,

Boo-tokenoo pe greto vengaunce. and wroko, Pat schulde falle for `eynnes-ecke' '

An pis Qlerkea conne . declare (57,62)"

In Piers Plow we nre told that Coasciencet

F, preide r the pople . haue, pits of heaeeluo,,

JMMx; reuede `that thin'peetilencea .' weore ror pufre eynne. 5

1" f° av If , ý"" aq -': od" D" -Bethurua j, 'O- 1Sm111e, off' f'e'il a `.. ,v (Oztord, 19 . P" 257. Ct. also %1.09 xons# t

nc9 -'. PP* 178 ,, 9nd 310; ý B. M.: VS- 239 1ä`c' o. g, quoteu y 0. R. Ownt, atu ei Wedli e1 EWI op. cit. "_P" 464, k____ k-... ý. 2. Hia&gCt of , tr. emwFather

Joha-Dalryaple, 4, Qg, _ cit;, & . lit, 294

3. C!. R. Crawturd, `P1 gue ende. a%l , gn�Qe__i i Ltterature'ý ..,

Ar t 914).

.;,. ý°N. ""4 . 1¬ 4Bä� Isi's'. "d

I, ed. ' P. J, fFürnitäll `Vin *Poema f the Vernon 11s (JL. ýi. 'r. $. O. B.. w 117, .l1, °) g'' 1" ý: > °" 'r 'rm?

5. JtT: 'oxt Thaaus VýY 11.12-13j ==ad Bkeat; o. ctt. 1,123.

314.

L'dgato ispLtee the ease reason in flow the Pieria was Ceased

In g", 1 wham the plague in caused by the angels. The link

öetveen 81D, 444 , plague ie no narked that lt seems to n©, in the

two prayers against the pestilence attributed to lydgate

0 ienvenlr 8118r2 feat - GoMfortffle of Licht and Stella Coll

_1tirvari - glcguet to Rome extent at leant, becomes cymbolical

for sin. 2_ 1errenly Star. Moat Confartnble of Light:

0 bless yd vyrgyn, ao wyeo, no feyre, no goode Iyght, bode Aungil Adan to pe holy goat down cent, Be ovre proteccyon Ageyn the olds serpent:...

... ? roaorvö thy'peple iron gootely poatylence, And fron Intcccyon of worldly vyolence,

han"'we-shell passe - Uawgre the serpent Orf, grace and-Marcy be with v© present. Amen (68-77)

In his own jhe ä. The Schein and the Wolff, Honrycon hlnacif

repeats the " cir u ent:

Thov tholie this bot for our grit offene Thor ocrdie we treble 'and pl©igin coir As, hun, glr, Berth war and pestilens (169-71)

Thera Is perheps notuc ough evidence to doduco a literary tradition; 3

what we do g eee° la"'a'°`religioun tr Bition "accepted by artists as

by Hcnryson.. <. ýa. - ... ..

co the_post, admita that punishment is dosorVed (6; 51-3).

But he aekä for'fiarrys and' thö'grojujo on which he does eo are

likewise-part. ot`. the-religious tradition. The pleas 'Use dcrth,

o lord,. orb se knee an4 hunger "eoir! . (25) ; canperhaps be co. =pared

in 1rReligioue'Foems, ed. 159«61.

2. eä«C. B")wn _ us ýf, th if enth genýtýu (Oxford, j1939), pp.

26 IO. LacOacrcen uoea notinoluds

the posas-inwhis editions. `ý§ 3. Later the concept In to be found in Lindsay's Týt h'o "a a c, 11.52-It and 421-5; bvo ka, pr). o2_t_* i, 197-3b6.

319"

to the "aven`yesrs of famine, one of David! e-a1tirnätiveo for

puaishzent. Uercy is aiao claimed by recalling the, merits of

Christ 1s' asorifice (27-8; 41.3). The poet' Is using"''

thcologioa1 terns: 'we recall I Corinthians vi, 201 'Empti

cniß eatie pratio magnolo to the sequence for the Uaan 'pro aartalitato evitanda's

Virgo itatun intercede ut aftliotos liberet;

Salret boo a peetie erde, -quad pie. rodemerat ...

Literature tco hae provided parallels to thin pleas Iydgat©'e

£te11a C. )i Fxtirpayitt

Be thy Requests v= Uedyncyoun, 4 And be thy ýeoon_ve , 41oryou® naneyon

And kemembraunce or thy Ioye®alit ýCayne , fröwarde Fyres Caueyng- Infeocyoun, Diff©nd vat lady, when wo to the Call (20-4).

The plea for mercy through Chriet'e paosion let of course, not

only rolovant to the plague, Prayer for werev s1

Ihesu, that diode one - tho rude for Po lute of no, And boghte sö wlthr thi -precious blode,

thor=hate mercy of me: (1-2)

And, aO Ver,: b! tpre :- trbL..: T:, cý-pent=

2

=Ood, =putte pia holt poesioun Bitwi=e ue azxi ty lugement * (95-6).

1. od. 0.0. Perry ugi Fi "= iýe, ý. ind P G269

FIJI, edn. 9"D. ? d. Tho po©t, like

£lisnryson; (l. 42) uses the phrase ; precious. blods! v another theological term derived frog the Bible tI 'P©tor i. 19 s4 pratioso asnguine quasi ugni im raculati - Christi'..

2, ed. Y. J. Furnivall, ILY=g the Vn rind Ch t " Farlis snt o! "Derilý an of erzRe! oua oemR h. 8. . t3.0. C.

66 pp " r. also Dunbar th 1. 'e, y

320"

There to another reason why the plea. for 'mercy. ähould'ýbe" °`

anseereds the people are penitent (33i, '499 86). We Compare

again with the Cezuence or the Diaas 'pro mortalitate evitandv': Oll= culpa nos ligati

reapirantoa cedimas corde xaesto fißgellati,

tibi soll crediau©.

The Sequence continues describing Old Testament herooa holpcd

when repentant. In literature too, einilar pleas can be found:

Do i! erel R1for_ thi Ju&e :

God, "a deeno us ri3twi jolt, -, tt e1e you merci with execusioun,

For wo had forfetid "rongtulli; Take bode to'oure contrioloune-(85-8) '`

But, all*iring-these reasons for mercy, the chief plea i© to the

andeeorved nercy of Goä. -(35-8). -- The-cry for mercy Se 'common

in the Peal i. 'The -6ecuence -for the Hase 'pro mortalitate

elltandals

'.. amncä tuna proolamemv, e `" u t ... Cumzi Deum loploremus

-' 1 ziocreri ut disnatur; ... ... Ci pro =all© irascaris,

A "pus set 'ut r©vertarie; pie Jesu, mieerere;

Thin co=plcte reliance on the mercy or OQd is found in poatr3 tool -R ..., .. Qä .k.,:

'ý ¬ mat lý :"i. P -, di s .ý

i' ä N° ,..

Po' ero Bitgre %b i Jupesenti

Or you po world with tier puro, Zily y" a r, -...., D0merci'bitore4pi jJacMont (l1'l2)

Ford the tz arü lt cr ant At'`11# JAI -r that , t1 p1u ueý oee not ka11oi sin 4time =tor confocaf one striking auddönlyr ae ° itdoes 1 =have -'bosn`A Able a to find n3 -parallel,, " t2 , =.; h Itia suddonaes$'of

ýýý.; . ý, r- ,. ý *ý . ýr ýsr_ý.

1" Cr, also Dunbar' a° -CC! X. jhe 1 ara_v_ý Lear to Revsnt t t= ý11.1634. "

321.

death is a co oa topic and In his on Fox aM the Wolf Henrycon

makes this fact an argument for confession and Owilltull pennanco'

(176-aa). f v

Thus tar then we have-seen the content of the poem deriving

ultisatelj from religious traditions, expreocod In the Bible

OnLI in the 3fuss= but., ve haws also noticed that those Ideas , were

not hooded by Iienryeon alone; there is a conaidcrabie body of. litarature_czprcaaing the: cave idene; to so=e extent a literary

tradition has barn-built up. Into this tradition Ane P£cie

fort*a Peat tito; a; wo ca= ,; )t finally dcc14 whoth r the

idees. ax; recaed are the product of thin tradition or of the

religious no-jr. -en of that tradition. Perhaps from both tor,

as we have d1scover 4 in 3tu& tng other poems and as we shall

coo core tallyýIn this, üenryaonßrää obviously fully convoraant with

the poetry of h1c, ota *So;,. -vcc4no º, from Biblical allusiono % it discovered in other. -poen3s thatt=hiv Biblical knowledge was

detailed* ... The religious influence: otthePoem extends to the form as

wall as the: ideasexpressed; - actual constructions from the Bible

are used: 'we beseik. the!. oocurs: severalätimee,, top inatunce

in Jonah-i, 24= z_'Quaesunus, Domino .. '. Again, 'Rcr.. aombcr

Lord's Psalm gran (Vg" xziy) 6*.. ! Raminiacero misorationum

tuarum Do ine'. f tý, or Paa1m cxxxvii_(Vg, cxxxvi) 7s 'U. emor onto, Domine;, tiliorum Edom.

«... 4 'äait uercy's Latthow «v, 22

... LLiaerero moi Domino: ili'David .,, '; Matthow xx, 30 and 31 + oýtnäry Vs &arera t or4ri 7fili Dayi4': " " '114a-of" lordö" -= ' :.

'týoýitºus-döi inrntlu& Revelation'zix. = `'Many oP-°the8egph, aseo had

322"

been' tckcn ovor . into the liturgy und , this ie, the, probable

source for tho, poet. Merely to. take one of, the multitude. of

excsples of the tirat type from the Mass pt-6t.. Iebaatiaa we

have been ucinis 'Day quaes=ue, Domipe. I The fhalt mercy'

construction is that of the 'Kyrie eleieon; Chriete clelson'.

besides# the Psca were a normc. i part of the üturgr. ° But

the poet has not ncrely taken separate constructions; the poem

to based on qL common concept or prayer order and techniQUe.

Irrarer® and se; uences typically begin with praiße# moving thence

to petition,, Co the. Sequence for the Uaoc 'pro mortalitato

evitall4aIA

J'ubellwae pie dente, , voci cordo concinento, tTrinitatem collcndenteaj

PAtrem Prolexquc precencir, Banat= Pneuma venoremur

mucus molos conarepantoc. Ozneeauna proalamesua, Cu. -.. z Deum inploramua,

niaoreri - ut digneturf ;% r Co Uenxy80n IQQ1ns2

, sterneý. goýii of goýrer. 1nt1n1yt x= To quholu hio knaa1otge na thing lo of obocure ,.:. ; hat4aß ; orý, Waß,. or. evir sat be$ lporfyt,:.

In to thy Gicht, quhill that thin warld indurej ti. Haif aºeroy of us,, Indigent. aad'. peuret (1-5)

. 8o Christ Datend T2 P ear cnemi2ej

-1' . i_. { i, - . Y. L'

Uo r rightWL© Iugot criet; 1ofrýd Ihü of kyngl a lqnn and lord äloo

", s With thi radar, pow runes so traw - the-ha2y £ost nt4 eli©n" iao 1200

ßudely ow take" ay4pralor now. c. xrno ' noght pin oro per fro(1-6)

1. od. - C. Zrownv el ue of --jhs. Plft*qnth-CqnturZp-

______. o b PP* 193-5,6 .C"z also Uke ton e pooms to tho 42 ek ersons of the trinity Poem 2s omit, , pp. 14-16.

323"

The tec2mnique Is that of otresaing the A1mi,; hty. Power and

righteousness of sod and, by contrasts the weakness and sinfulness

of those Praying. This contract the poet heightens by toto

co=on poetictechn1quees alliteration and, carcrul, choice of

dictione tie have seen Henryoon constantly employing these

techniques in other poemsi Alliteration emphasizes by repetition: 'prince preclslrl (73), the people confess themselves 'cynnnrio

that comic to be schentt (37), suffering from the 'perrelu©

postilens' (16, Lo); the 'pepill ar porreiat' (27) for they

arc 'punelat with this pestilence' (48). Now they are a 'popill ponotent' (4). The contrast in realized more markedly

still by the poets choice of diction: Cod is 'eternal, 'of

power int Ir7t j' tbljlrl Is hidden to ilia ILie bnawloägo';

He Is 'to hank nd 11nlll cuccure'. But the people confess

themselves 'Izzdigent Qn pevre'. The tochniquo is ucod

throughout: 'on knots it w orostraait, ' -, they nro 'of 'vertow u' it rs64 `$";

+t ,ý G` d .. d+ y, ...

� "- t

barrane g denude'; God is to king x-oal hie' while they are,

they repeat, VjnnurioI bewailing Four syn'. flow to stress

the greatness of Cod the poet uses a special type of vocabulary: ''.

t

superne', 'lucerne' ,' preolair . Smithy pointed out similar

usage in Dunbar's PQ1 lntt of Our Ladys likewico one con find

aimilxLritien in other of his poones e--01: 1nä nj c iahen the

coveýrnour Pnüt in Pr n e, Je IQs R, oioao For Joy and The fter_na_ X44' md"S' p

-2 _: w" kv

Ja

in Ri eein of Our RodeaiuM. The name typo of uoägo `can'be -°" äý Ä in I; äte'o prLYeras ß1ella Ce1i" . xtl_rpivitt

"`i; 4ýgýi ý ,s ýa.: ý; : iiý 77 no ti a° to , 1. ý,. 65: - .ý

ýi"

... Engeres e of, the -hevynly Coneyetory ;.... "°I And Cryatall Paleye of owro goat©ly glorye ýýý Gladdest Aurora of goat UeEnificence (34-8)

and in Skelton: Prs*yer to'the Fnther of 114avens

O Radicnt Luminary of light interminable, Celestial Pathor, potential God of might (1-2)9

go should note that these are all religious poens: hymns and

prayers. Apart from the verbal 'firework-display' that has

been suggested, and the tendency of the period towards

aureation, this usage also forme some attempt, influenced perhaps

by the Latin hymns, at realizing a heightened poetic vocabulary

suitable for religious verse. 2 The poet then has used prayer

formulae and techniques heightening them by poetic techniques.

And ho in not alone in this - we have already illustrated other

uses of the opening formula and of the special vocabulary.

We have seen then the religious source of much of the poca'e

content and form, content and form which had been taken into y

:>

poetry to form a tradition of religious verse. But there are

mors purely literary devices used by the post and by tho tradition

within which he was working. We have already seen two - alliteration

and diction - but there are others: the verse form for instance. +_. a4 xestvzrn ý` s+ , -ä M' aru. it

The poet uses the Monk's Tale stanza with refrain. NO'S this is

a co=on fifteenth and early sixteenth century otcnza; it in used

aluost exclusively for roligioua themea, including hymns and

prc eri. Thus- Dunbar-uaea the form-1n , hia--prayers I ýC t}g"M

1. aodi Po4nv " r. ý FAbleaý} Cj qi& p. 270 note to 1.64* 2. For the concept$ end illustrations of the idea of 'sacred

language' see Christin© 1ohrx anno LIturgica1, la tin i Pry ink nncl _

Cha ©( ondon, 1959)"

325.

cnc1 Ln-nr to Repent end AneOrt noun: : Quhgn the t'k, uernour PnQt

In Proms Skelton too uses it in hieß throe prayers to the

varloua Peroionu of the Trinity. Ucny of the prayero in Bro7n'o

coilcotion of fifteenth century roligioun lyrics are in thla form - including Lydgate's poet"imploring releano from the pestilence

fltolln Cali ! xtirpavit. So another tradition Is aeon. Again,

as Gregory ßnith pointed out, l

the internal rhyming of the laßt

three stanzas can be paralleled in Dunbar. The poem then in

metre and in form# is part of a group of prayers written by thin

poets by Skelton and by Dunbar. They share with much other

religious poetry of the period, as we have soon, a common

tradition of religious thought and technique of exproaoion.

An #yFrap r t'lto -Pet

then, as we said in the firnt

paregra; h, to not a personal plea although it could perhaps be

used as one. Brom the ' text- it would rbe -very difficult to

justify Douglas Duncan! s , statement that r'it,. ehowo Henryson

clinging to. orthodox' 'in the #. faeo ot,, terrible: oireumstancos....

In this toraented -ard moving poem it ä can be _oaid -that Henrynon

in just koepInghis balance between faith and experience. i2 Tho

poet embodies hin own emotion in orthodix language and doctrine]

there Is no ttsuggestion of a conflict between faith und roucon.

+ý a

1, $QýyFo<<,, t 1ý 77 zwtoý. to. lýx s. 'H sane arlt or, reeaelc ', &ssaws In Crjtla lcm, xi {1961 ' 134.

IV C,

326.

(iv) The O aroäi of Ovid L8de ie

Janet U. £. zith etateo of Tho ßßr ont t7v_! l Ladefa 'üenrfaon

borrowed the central idea from a tediously long French work

Jn Triumrhe on Pnroment Dia napeo ý. ý. r. r ýwrrD 'Bonneuj: by Olivier la liarchop

and with excellent fudge. -ent und taste conpreased it into ton

short stanzas'? By contrast Oregory Snith, though noting the

similarities between the poems, which gll102 first pointed out,

states 'If üenryson got his "idea" from this poem (and the

suggestionin open to doubt) he got no more', 3

a Judgencnt with 11 , which Harvey flood agreea.

4 And certainly the evidence seems to

support this latter judgement. For one thing, D© La Uarcho'o

poem was not written until at least 1488. Julia Kalbfieiaeh,

who edits the poem, states:

'Der Triunpho des Danes gehört zu den spItisten Gerden'La -ilurnhi8f -. -einen sicheren 'terminus post quo=' bietet die vrvlhnung desp1488 erfolgtentTodesder-f Herzogin Marie von Calebrien (Str. 167, vg 1. B. ̀ j102). , f, r 41(stor, 'Gayf mint -ui, I lei Gedicht sei 1492 enstanden; Stein (Be 124 f. ) möchte*es noch-tin oder zwei Jahre später' stetzen. 'S

Fran if we were to assume Henryeon'o death to have been as late

to 1500, this leaves little time fori a manuscript poem to circulate .r.

º Mr . 6- Ar 3q. ý# x. 4--'' r s1

ä M^ K} i awe M.. ?' Kr a 6ý8

Sn 'ad ,4 L', + b" .-`g

4S) e. «t

I. T? ie Fr ench °f ackgr2ui to 'Middle"fc tm iterat, re_'' op `I C11. , p. 101 0

2. .. 1. ý-. q FarIX MICIAM . ý. ,3 völe (Lon on 13O1), it . 364 *,

4. Eoomoý r4 P, blei, Qp# cit., p" 270. 59 u 1h ,

de© Dare von Olivier de la Uarche. Ruugabe nac en Handschriften. Inaugural-Dissertation ... von Julia Kalbfleisch (Rostock, 1901)9

327.

la 3cotlan3, ®Yen taking the 'Auld Alliances intq oaaount, But

this is zero conjecture; the most important evidence is the

nature of de la 2Larche's poeas In 181 eight lined stanzas

interoparsed pith . twenty--two prose paaeagea giving examples of

the particular virtues allegorized,. ito eaphaaia is severely

corm, its order strictly logical - working from feet to head -

and ooze attespt is made to justify the allegorization of each

article of clothing. Now in none of these characteristics is

The Oerrzont of c)u� Lnc ijL similar; our poem In shorterp with

no Fuca pled given of the virtue in action; we shall find no

exclusively moral preöäcüpatJ on; * ' -the' order is very different J

there is little atte=pt tojueti2y the particular allegorization

given to anpurticle' of' clothing: Besides, the Y aotüal _alle

; orizationa

of pc. rticular,, urticleätot 'clothing-are quite "different. There Is

no evidence then of the`poen being a compression of the French rM

work. But de la Marche's poem, ie of considerable Interest$

that two poems, could be written independently on the came subject

provides some eiidence tor. a tradition.. It, ie quite conceivable

that the idea ot* euch ,a leEorizaYtion Bras "current in the Later

uiddlo Ages; ics 0regoryý ý3alth'has: ähosal there-was-comma

allegoriaation Or, arme riný OL elnilar'rey, ý' Beaideei there was

Biblical justification for the allegorization. Even more

J'O 1. r°Qmm, ` ,.. p" lxr.

. 'Ct. mime ,

R: lloolt, #, 'The, Theme,, of riet. -Lrrer- Knight -in. Yediwval Literature' Ef

N*ev- Caries, ziii (1962),, 1-16.

328.

ro1syant thün tho all©gorization in Epheolana vi, 13-173' 113

Z TiLoLhy 119 9-10: ý, ýý

8ialliter et mulieres in habitu ornato, cu= verecu1ia at eobrietato ornantos cog et non in tortie crinibus, auf ©uro, nut carraritia vel veote pretioca; cod quoll dealt trslieres, promittentes pietaten per opera bona.

This verso 2uid bcca co=onted on by cony of the aedimval ©xogotea,

for instance Hrabanus waurua, 2

and º7alafriduo ßtrabui3 who bed

strenaed the allegorical idoa. Do# although we are unable to

pinpoint the ultimate source, it in reasonably ccrtain that the

I* Cr* the use or this in sermon materials

And they fore while that ye haue tyme, ryse owte of the werkes of derkenea and clothe you in Goddea armes ** with clennes, almusiede, mekenes, vakynge, and holy prcyore, stedefast beleve, hope or Crietea mercy, oleo with charits and othur vertexes. And itt ye clothe you in this vise, than may ye securly abide Qodden co:. nge. --

vi. o. ROGSI E14410 Ex dish fle, mpns, Q, p. cit_, p. iii.

The concept Is extended to describe, royal virtueo:

4oä the eßdere with a oroune off glorie And with septre off clenneeee and pytee, And with a swarde oft myht and victorio, -Ani with a mantell oft prudence oladdeFthow be, A shelde oft fteyth ttorto ' defends the, An helve off helthe wrouhtto thyn encreee, Girt with a girdyll off love and partyte pees.

Iydgate ' a1 F. ntrv t2 rut (Lydgats's 111nol: veil. .. 630-46)t 11s 197-2

2" c In EP atola D Pauli In Ri tolam I cola* 594--5*

3" $1Q$ea QrdInaria, , cxivi cola. 627-8.

aý a'f _ýifA�Y

3"

329"

post, ' ss in nay or =his other works; took--hie idea'-rrom-hcurrent

tr. 4ition. ills poe*, in turn, '-Se the certain source long `

sixteenth c*ntury-work contained in the B nnatyne Llanueoript. 1

'tot sorely the-central idea'waa borrowedf there are-phraaoo

too *hicb are coimon; iece"'in later medieval 'literature. " For

instance tiirk' eftir ý m; r"grill', -(2) . was a ioo: mon. phr¬ e' meaning,

to return the epea er! a=1ove. Z, -The poet has-also need the

coamon allecoriution. or. colour in tho linco:

That saho 'roar new grene nor gray That set hir half so weih (39-40). '

1. isol. Ritcble, The ant, } rn t uoe ýj iii, 295. Ito dating -lo per ape suggest j soze ro the voäabulary used; *-for "instance, 'pudicitie'-(51)'is not recorded by tb©.:. '! before 1567. There are many direct parallele t beai ea s larity°öf metre crd form. Co the later poem

1 vra d ia-rud l ye` lilt X Lu 2 lie bq. Rf f or qi

I cull cnr. -Mn for! bir behuit 4aar

nil . guile . and- M,. (1-4)

Senryf `. (1) '+ a1d_ Isar tilt (2) lute ma b2al,

cnd wirk ertir my will (3j( (4) tine csr. ond a_udjieat

ti oar, a hir body till

Almost' ever? article j in tour poet : le. again. used in.. the later; theva11egarieal dsseriptions: ars not always difteront_-ý the gown in both cases is of Goodness; in both poems the kirtill

:. 2s . 'Ma13e1t'; . -the -oonclusioni

Nor. this'; &Armond : sa, Hait -,,, I sý ilý rt. tior hal" so Weill will ctt hir (67-8)

I durst sveir by- my_. Ul 11 _That sclýo eoir nevir�_ greue nor., uy

hat`s. L°hIr halt ao Weill (38' 2: lt he aeatuäl"cýnnotýýions +iri thi iris Dr 01 co=e" ý1ý1e,,,

ed. -'C: -=Bronn, - LZrlcrj 't Thi t en ` n-tuZZ (xo, 1932 pp. 152-4.1.3b; and agate a Iray !l �o,, ed. H. Bergen, 4 rols. {vr.:. 9. ý. fl. 97,103,10b, 1269 1946-35), ßk. V, 11.2995-7"

330.

Gregory C 1th states or this that it Ia 'probably only. pn r-

alilterative collocation ... But there la perhaps the suggestion

that whether gaily or q letlyºº dresoed she Would never look iuir

ao well as in the confection of the poet's allegory'. '

, But

surely the reference is`to the coanon allegorization of colour

vhlch plage. euch a large . part in ßir Oawain an th : ©manfini

,, for Instance, where it, ia the colour of nagle, of temptation

Z eM is the Flo, re Br�; Qe I&At

And os , for her -that crowned is in f reena, It Is Flora, of thane fioure© goddesfle. Andýtll-that hero on her awaiting bonne, It are auch that loved idlenes And mot. delito r of no busines But for to hunt and hauke, and lay in medoo, . And s msay other stich idle-dodos "

(533-9)

Thex honour the'_. leaf, whlcht {

.:; within awlittieyspaco Loll be lostj, so ©imple of nature Sher sbs 1 tb. *t they no. greevance aay' endure,

Anh1 § s, e 7. starme -will blow, them Boone . away j Ne' they lasst not but 'for a ßeaaon -" (558-62)

fianryson U308 the tradition eloexhora; in Tho Teet went of _Cr esseld

we finlVenussý; ý

eq"" clod in ' ans nycoe ' erreýy,

The' vino half ' grene, the uther -half ©abill black; .... Dot Sn. hir

; face $em1t greit variaunce, 9,9., (220-3)..

The gresa gis , parhap! . gwmbolic of fertility; ; It ,,

Is also > symbolic

onus -, Corgi a yhi1e green, , then. black, just ca a leaves 4 are

green,. seez beautiful, , but eventually decay leaving bares,, -Plack

63, aoto to 1.39. 2. od. 'A. A. Pearsall, '. nU Uä ' 'A a the

of Lad lee "(honton

and iq nburgh, 9? .rx

rý ý« -w __ .ýor. wý. .ý... M. <. .. _ .. P. , ti . w.,

331!

boughs. In the cn e goes Henryson uses the colour grey to

symbolise the antagoniatio natures of Baturn, the old: 'his

lyre saa tyke 'the Leis, ' (155) *und 'hic gyia full guy of grey'

(164) -cd or Cynthia; * ̀ th0° changeable (254) s 'Haw no the Leid,

of colour nmthin, claim (258) and 'üir gyco was gray' (260).

Those two punts Crescoid. These characteristics ot'vcnue

sad those of Cynthia and ßaiurn äre nat, then, to be thoee, öt

the lady* Clio Is to be steadfast in love, chöwings 'lesun

luno' not the rites of Venue. For this Is not an exclusively

moralistic portrait, as in do in Marche's poem, but one of a

virtuous wo aan whöis yet Moving;. , '1apit with laoum lute' (14),

'Purtiilit. with. plesour' (19) , -; anc -compassionate

- 'Ihr hals

ribbane ota�reath' ? (28). ire rsaeaber the courtly love du and

for pity as s, tittinä jcharacteriatio of a lady.

Technically, ae'in subject, the poem 'is based' on conventional

ceane. "e t' iii 1 alliterition-used"tor ctreasing`, in' soveral lines,

for instance in itanza` fivoi ' fl n Hir gown auldbe of godliness

4 will ribbaz4 with.. r. nown" Purtullit with' plesourin"llk pl01,180 turrit Withdyne tassoun (17-20) ,,.

But perhaps sot,

sost$nterest,, to -us in this, pocm laths wsy", in which

tho; balled stanza tors, elsewhere used olmost, exolusivoly for,,., ý

+ýr<, aýn »ß+s'9 "kV+. x . -, Ix.. w". r .. a _.. ntr+Me... e ý

narrative, poetry, -is-used in4his. 'aora1' jpoexs t. i ItIis,; Ahio

rrhich. has-Liven�ri®e to ,, impressions such as ßpeirs 'a poem. with,

a' taking istrlcal ooýreýent'... here°üearyson iý ýaývorY

°6entler

moralists! , -more -Import eintly' tor-our-purposes it, -1a further -* "'* a.... ara :,.. w..,,..., ý.. 3°

.": 4- s" r%,...... - .. _. sa ai z.. «,. " i. ci a-- na 14

evidence of Hersyson' e surprising use , of `tör gl to provide' a ncw -°" v__i *n- ,. ýý. y .ýý. { _.,. sgy ff .ý: p^4 .,.. yäýä_, ý ý,. ý v* .a- , r" T. r3

_s.. -K !.. k*e. /, sý i aA'eK +. Fr 'a.; -, x F! # ýfR+ýý3 r? hý, ýw" ýä b+tJ ýc 6/ý TN t¢'. 3 v .,

setting -sud now, meaning for., Yell-worn, Ideas*

1. The rýc4ty i. itcrars Tredition, gr'. _. _at_, P" 53 U.

332"

('V) The 81udy' Berk

S=ith estates of The Aludy Berk that 'the source of this

poem is roun3 in the 129tß RQnnr in the tal© of the daughter

of the Emperor Prederick'. l ý The stories certainly have m3fl

ein1laritiest they are{talee of a knight who dies for a lady

in distress who treasures his Oblodyiserkelp and the noralitatos

acre eaasntiall7 the same. ` But there are several differences

between the two poeae. - Iný the ge2tl Romr-n2rum the lady's father

their

Quidas'-rex regnavit, 4qui puichram fiuian' habebit, Quay<aultu® dilexit; }que'post dseessux, regis, regnux ocaupavit, "-quia unioa estx'rellcta. - Hoe', audieneýquidam dux - tyrannus-ad ean"venit; aulta=ei promisitl ai ei` consentiret. - Ills vero seduota per-'a= est -et"deflorata. z °ý< Rx

ffenryson'e poem rakes no mention of the father's death - in fact

it states the opposite for the, King in The ßlu1v Ferk initiates

RQmanorun bis daughter's rescue cstanza, 6)" The tale in the (cots ,4 ýý rar ý

places auch of the blaze on the lady, who yielded to temptation3 -

fcnryaon'e version perhaps does thiap but in a much more subtle

wry. Uanr'con blames the ' ans' (and we note that this is a

'r, yrrno', l described in all his torpor - stanza 4- whereas the

comes o. nning Eisure in the Oe taRomanru 1s, a Duke). Again, ec..

.. r . er i,; _ ,, - <`,

, ýý. ., -x ýt

orum is seduced and robbed of her lands: the lady in the Costa Roepnrwýrr ma» -+ ..,... r.,. r_w... w. a. av. ý.. mwmr. w a ..... R. "...,... .......... ......... «... . M... - »......, ,..., ,.. W. «, w, »., -.. y».. ý.,. -,. r, m....... w.. -w. ar. ". «

--W! M 171 1. rose& ,ui, _i, lix.. r41i8mith prints the complete Aale Iaad<:, aor" itas. ro* one of-, the.,, tiro:. vernscalars version$. "given-in =: a J12 EIrlyt ma"J"N ralong 2f thS, O. > edi B. J. H.. -

rrrtags,; ºý pp" -, =2 .i ave. _used-. t e' tin'texts ed. -H. Oester e1, , Oest a flo nr (Berlin, 1872) t pp. 378"7"

2. Thin tart , i8 found both, in they English. version and in Henryson.

3. R. a`oolf, 'The Theme of Christ the Lover Knight in L edizval Literature', 22. e p. 5 calls this a relic 'as though fossilized' of the older story 'or a huobrnd reclaiming in (continued overleaf)

333"

yranaus tacta defloracione tlevlt snare, :t ýý s aý ̀ vero eam ab haroditato can expulite ilia vero sic espulea gemituaý©t cucpiria cuittebat at in via public* cunatio diobuc sedebat,. ut a traneeuntibua eleioeinnm peteret.

On the other hand Uerrison' e lacer is ' etollin' and anal into a

dungeon where the suffers great physical pain (stanza 3). There

the cannot see the knight before he saves her; in the Geýtn

Fo 'inor the ladry's weeping dioturba a knight to whom the tells

her tale and, Yho vors -to fight for her. At this neeting# before

the battle, be-asks-hers when she has agreed to marry himt

ei vero, in bello. aortuue. Suero et hercäitatc i tibi acquislero, nil aliud peto nisi quota uraa aea sanguinolenta tecua=custodial in eignum e oris. Si vero aliquis veniat, ut in uxorea to ducat, cauraa tuas intres, in qua arena paadent, stc-ilia diligenter-respicias, at meaorirn habeas, qun odo propter tut anorea Tit" _ataa: amisi... .. v., _ .. ý

In Henrnsoa's poe* " thi s° reque st is made by the crying . kai Ght rho

has succeeded-in rescuing. the 2 y:: -Oregory. 3itth explains-those

differences as tollowat ! fie jHcnrrson3 °has modified the ®tor. 7 in

mcay w ys 1n ,a nar ana1ogoua: to,, fit- We +rind in , all his

" -n k; -o . 4"1! ,,

3: I_C. kom. : _.

a<

e daptations: l Nov if the tale as told: In the, Oestn Bon rum

ware the only tale relating this subject we would, of course, be

forced to agree with Gregory 8mithte conoluaione. But as Miss

'oolf has s own6 the story$ and its interpretation, were coon r ý,

w "� i1 ' +ß ä+Ibiý; hz$

bis charity*a'lapsed andýflckle'wife' 'a story which 'the now thooloj7' [i. e. the emphasis on Christa love for the Individual rather than on the Cross as the devil's rights) 'and the nev literamy tastes' (i. e. 'fins amour'ýj hrd changed to an account

--of 'a knight fighting to save n lady °e nd°ain-her-lore Wall

2. 'The Theae of Christ the-Lover Kni fht' . op, Qi� tt .

33Z&"

throughout the later &: id11e Ages in Britain and we must examine

so. -. * of the other occurrences of it before . we can, make an

3udgament about Uenryson's source.

Nicole Bozon's . Dn roar ki aveit tin amii In one of the versions.

Here again there are points of difference fron Henrycon'© poems

there is ro. mention or. the rather; the knight is the lady'u

joalous husbandl the. la4y. agrees to s: botrsyal$

I&'-Tint-sun traltour# ant -par t1n acord - Out ly is mena;

there is also noch additional material - the arming of the knight,

the proml se ° of the knight to return after death; "- but here pro do

find the lads rescued from prlsoat

Et lr'roi--desceniist an un'bas. dongoun . - L1 trova *'=is en ; grant =chaitivesoun

whore ate had sufferedr'Unques pus ne. avoi solace no Hoye do

nul runt' the °con ersation taxes place after the battle, as in

Uanryson's goes, =1 It is then that the knight offers the lady,

cnongst other things cdnitted179 his shirt:

E qe soles plus sure encountre li edverser, Vers vouarretena:, hnälu=de-; baner, Ila chemis do chartrea at na mort amer, B ceo'4Youa_, saurera -du41able-enoombrer.

A otherý. Tariation of -, the, stor7'ae round -ln-. a ; coca to the

Vernon Us nuseriptt _nwhilea husba1nd, iaLavay. hie°-wifelu tempted#

but does not Jield; ho "turns to revenge her but, though

ucccsst111, is_killed, , in, dolnZ

_eo3 the took hip ýcc2zcrte_...

ý,, tai Io ä"

1Tright, 1. Appendix 1I Th( le °ot " IIP 12- errs `ýiQ fl Lott ý ed: To 2 tole. `(Rerum ba :n carum- Iho ° Mvi bar ptores XLVII, Lon1on, 1856-8), ii, 426-37.

2. ed. Co Horatzrnn, 'Die Evangelien-ßeochichtcn der Roailicn- ea=lung des U3 Vernon', c iv, lvii (1877), 274-5.

335"

And Phon heo was .I teapteci ouht To czy cynno . boo wei of pouht, heo loked sons . vppon pat ochurte ... (55-7)

""" Al wired esse* hire

c weyuede

vanon

ftor Quer heo hedde hit . in hir cynde pat he hedde don .a dede kyndo. So sc: olds . eueri cristene on penken on Ihü . god al on,

at Uonnes Houle . weddet to wyue; wip outen ende . he at hit lyue, ffeir he shad bit . of Beute To his liknesse . vppon to seo (59-72).

Alain, is D1v_2f_ Mg Paaper, according to U. O. PPcrdor'a

ra=»301 the story in told of hows

'a king's son, having harried beneath his station, became knight-errant and was at last slain on the field of battle. An he was dying he removed his bloody shirt and sent it to his wife with a message asking her fidelity for life: ` Afterwards, when tes, pted to sin, she would looks at ' tho shirt and flay:

whil I haue his blod in myna mends pat was to me so good and kende. schal I neuir husbondo take but hym pat died for myn sake (f: 14 9b)'

In Fnuoi_� , lus Vora2 wo tint a knight - and there is no mention

of previous 'treachery by the lady - fighting auccesntully against

a icCy'o ane y and returning home to die:

Accidit ergo quodam die cum de quodam Bello pro ea radiret vulneribuo sauciutus viz ý aer irivua evaeit. Aceessit ergo ad can tanqu= at tutorin retugia conridenter co quod illam tantum pre ceteris dilexisset at as ipsum kte depauperendo eam ezal. taaet.

L 'fives eßt Pauper', Zhe Lam. 14th neriasp xiv (1933-4). 310- 2*, The version of our story in the M8. Rawl. 670 copy Of the

Fesci ulue Q (ft. 12v-43r) le cited by R. Woolf# ? tie ; ire of Christ the Lover Knight', o 01w PP" 7-8.

1 have used her version in * . tact. ,_... za:

3369

Thera is, however# no nention of a bloody shirt, and the lady

apparently does not accept bim. The 'gyano' in Henrymonto

poem ctn also be found elncvheret

.. I soya euery man was gette in bateyll thorowo the myghtfull dethe that Criat auffred on the Rode Tree And hoer that he Ratte the I will shows the by ansamplo. I rede of an ermyte that walked by a veyo and mct with a knyght co=ynge ag©yna hyr vnar: ed. And the ermyte asked hym fro whena that he co= and vhothur that he Bolde. And the b yght answered and seid "I com fro my Erdur and an goyngo to fe Jit with a geaunta that hathe nany of my faders men in pryson". Than said the ormyte, "Hethen that thou eolto goye fey the with that geaunta, toll me what that thou boro3ta in thin armes ...

By this armfit I understondo gooslycho euery Cristen man In this worlds that walketh in the veyo, I hope, towards haven. For irhan that thou ehalt* walke that vcrre, thou chalta mote with* a knyghte, tho Wichs Is Crist, Goddee Gone of heuen ... But he con vnarmed when that he leite all. is Crate povere Cher and corn downs mskoly for to terytht with a geaunto that van the Jewell of hell. 1

%7e hays thus seen parallele for most of the points Pf

agreement between the gast Romer and Tbe_ BI! IdY t3er s there

ueea to be only one point where the twowatoriea do., agree which

cznnat be parA11e1ed in one or other or the versions we have

extatneds in the other verutonethere is no mention of a father

for the lady. d we have also, seen parallele between the

other versions ar4 The BJudv : Serk where that poem differs from

the Or to RogW9 vi the character or the giant, the 'apparent

innocence of the l r, her imprlaºonmcnt, and the knight's request

1. W. O. Foss, d lam n42,1ah Ser®ons, Q. city. , PP". 37"$"

337"

as ho Is dying after rescuing the lady can all be found ol©ewhero"

The ( t, n Po ; gyn. then probably cannot be regarded as the Dole

source or iienrycon'a poem. We must remember however the marked

chan. gce gcnzyson makes to his sources in the P; bi ; lin, many to

stress his allegorical purpose - thus tho father remaining alive

would perhap3 hQTe appeared more logical for his moralitas, man

as pricono» is a co=on metimval Id©a*I But whatever the actual

source or sources the poem provides a further example of üenryson

reworkin, - crcativcl', as wo shall soot a traditional stox7 and

morale

we have now to examine, by analysis of the three prlnoipal

charactcra, ghat itenryson =do of the talc. Tho lc p'a anc©stry

is stressed In cn cdditions her father was:

a worthy king; D'1k. ts+ o? list and barroat3 bald HEI had at his bidding. The lozzi aas anceane and ald And ßczt7 yeirie cowth ring; (2-6).

T ho poet uses his custosar? methods of enphaoist repetition

through cynoz y oua ad jectlyec, the cumulative effect strcngthenrd

by conjunctions (11.5-6); alliteration .(

3-14). 80 the ladet

(ncn'D soul) is of very nobles very powerful (controllin1 'Dukia,

crlls and barronis bald' - the accumulation sur; goste the . great

power), and worthhq lineage, a . linage halloied by age. The post'©

portrayal of the I &4y herself im vem inter outings be conaentratoe

almost excluslycly on her r1ysical beauties; , tAdding another

dizension to the ors she was:

1. Ceps zP discussion, p. 141.5, of this concept 8e found in

- ad gt flo hir lilam. .

338"

Lair to tall a Lusty Lady vin Z,

2. Off all rairheid echo bur the flour, Aral elk hir, faderia airy Off lusty "laitin 'rnd' he honour, L"eik bQt and debonair. ßcro, vyz i1t in a bigly bour; On fold woo nono co fair; prineisx luvit hir paramour In crntreia our all qubair (7-16)

°5

The etrese - hc1Ehtened by alliteration, by conjunctions (we note

the ci ilative effect of 'and' in lins© 10,11, and 12), by

cuperlativo ccnciz ctiono which ecphr-eire the lvdy'a ability to

excel (! ralrhoid';, 'pano% co fair'.; '; rramour'; 'our all

quhcir') -, 1s the ovcrwholningly . cn the lady's great phycieai

attraction. This stress recalls Crecceid who also was 'the flour ¢. f P4

r e1. ^r

of luif" (128 ; 'cr i d2re t'ichtis Flour! (435); who also was

'Parlour' (53)dä

iy` plccard "nil lithe, iii nee Lin I Cr 2t: attne aZ Was ndai ýýt 6-7)

VOT we have cee. n 'lusty' used,. twico in the extract, quoted above

fron our pocn; 'here the noun in uO4d_to, 4eecribc rn originally

deluded steto, in, which Cressaid, had, placed her . trust on the wrong

thi gs. Other uses by Henrycon imply the cane moaning: the po©t,

describing'. Creiseid in her "original, state, c; eakn of ' lustio

Cresseid' (69) cr^'d her 'lustie lyre' (339)" Again, In the

ýtorautas to "'re k? , ý; ßr4 t=ho ylolt; =ae . find: k

t* Flor önY : foie now to 'confeseioun , Can not repent, nor °Tor, . thulr, synnis 'grit,

no eveit , (166-8) Btos: ý s , the think thair ueity lyre

1.2zit6 the ballad förvi llenryeon impo rt's the devices more °'literery! -poemi+ *tirac'extending the : bra's poesibilition. ate-shall; see this again in'the princess' lament.

339"

To t'urt? er the argument, the word "yingl does not solely etreaa

that the Lady. vas very desirable - young nu3 attractive - butt

being in direct contrast to the stress--, on her father's age,

Implies perhaps in this context lack of maturity and perhaps

makes the reader wonder to what extent her other characteristics

are different fron those of the 'worthy king'. Do we are perhaps

left with a certain'doubt concerning the lady's values# a doubt +a

N. +. iYRair4Ewa ._e4

which may be explained by the Christian doctrine of the Fall of

which we poem to, in part, an allegory. There is certainly

a 'tall' here for whereas she was a para=ur of princes end

'Echo wynnit in a bigly bourt c13) the giant cast her:

in, his' dungeringý- quhalr licht echo wicht to r. 3nc; hungir; ar : ca1d and-grit thriating Coo far$ In to car wane (21-4)

The terror of thin place (hell, no we are told to 1.103) in Jk '

further streaGad throu ut the pia :s It to referred to as

to deg a dunesoun' (34); the giant finds there 'hu gir, cauld

or contusion' (55) when to "1e.; irprizoned; º'wid the lady's

Erºatofnlnace)Ii-Incraucad-when -- aheýze nDorý thss: :. -, bandoun

quhmir scho was wont to sit 11 mark . 'n°R that" deip' duageoun (81ý--b)

;4x. . °= t

1" I accept Faith's c erdätion h`eres -perhaps it is merely a . miat1 a . in; transcrip . ion for -he door not seas to. Justify it. Wood; gives the' 118, " reading 'warne'; . 'IYsno'° seems more likely in, the contexts, this !d elling', is being.,,. contrasted with' the- 'bigly 'boor' in` which the Iady `formerly

äÄ livid; one would- perhaps, expect. to, suffer, 'cald'ý, In 'wane' rather than 'w e1; bosidos, ' the" rhyme- throughout' the " stanza has been 'ans'. On the other hand, however 'wane' rraulä stress<the `pbysical- dI*comfort i-andr'} ae-we-"have seen, the pr sical characteristics of the lady euern to matter most to her; and L ho r2 ins schema is not completely regular (ctanza No

IuLn 0

But froa thin state-the La. º is rcacuedj her gratetulneaa In

shorn by her sorrow at the death of the knights

The, lady surnyt and maid 1 mono kith hir Rolle aicht 65-6)

Hom7aou bringe into his ballad the litorcry device - for portraying

great scrrot rhlcä we discussed at length when dealing with

T Lion e. na the Ugug - il. 210 rt.. 1

The poet uses similar artistic means to stress tro character-

istics of the giants his loathsomeness and his strength. iie is:

'A fovll acne or an ' (18). The superlative construction Is

used again with alliterative emphasis to reinforce thin ideal

no was the laithliost on to luk That on the ground aycht gang (85-6).

In the next tio, -lines, tha, siallo, (an: additiozi, . qt, course), both

refers -to the allogorical: maaaing of the poem - the aesooiatlon

of the devil °an. t hell - and" Wlts®lt, is symbolic or the

loathaomoness, or-the Slants f; . .,

His: nailiswea=1yk; ans he111so , Thairuith Pyve quarteris lang (27

-ti)

Just as he is the most loathsome, the giant is the strongest __ ,r1 a"

on earths

W +` Thair ween=-e that he ourtuk, 4 -Inxryaht or rim ; in wrang _r, r-'_ ._ .ý. Dot all in cebondir he thane ochuke

The cane res so : _etrang ý(29'. 32)

The, constant ., use wor = i*plioation sott, superlative with . reference

to t e; giant yindireotlr shows; the, greatness kot : the , might ; who .. ä oisromes his, and: slso, tho strength otýhis loot ý boWaillgo-

. 12ýý

31 1.

to air lengths to rescue the Lady. The poet emphaeixee'both

these characteristics directly. He is

a worthy prince that had o'pair ... and hold ull treu cunncn1 (45--8).

Mio Is as virtuous as the giant io vicious. Of course the

adversary Is so strong that the knight, though viotoriouc,

ccaaot Cocapo unvoun3eds

In all tha warld was their a wicht So poteosaa for to cy? (59-64)

Again henry on imports into the poem a literarg device - the

rhotorica2 question used ©lcoyrh©rol to invoke pity.

Igo haTO seen then the emphasis of the Tale; the Uoralitae

does not ccrely interprett it, together with the lagt fez Unto

of the Tale itself# emphasises the importance of the tale for

each of the realere. The Tale has served as an exemplum; thin

rauet be applied. So the poem ends on the appeals

hand men, will ye rocht perk? ffor hin lute that bocht uo doir, Think on the blu&y Berk (118-20)

The relationship to Berson writing is thus markedt and# na wo

have coca# this very story had been used in sermons - in 1ý�vV

ýd Pcu sr and in the oermon m nuocript M3. Roy 18 n xxiii.

'hatevar version or the story Uenr son has used thong ho hzo

used it creativslys he has stressed, bi Utßrst't me=, the

cacanco of him moralitaa - the poorer of God, the origin] nobility

yet essential vanity of mankind, the horrora of hell and of ßatan,

the great love of Christ. This, an essentially didactic poem,

1. cr. TT. M r21 ;.. 4 and the.,. Lu=b. 11.90-1.

31}2.

he has cant in a warwrising metro, which has links with tho

ballad metro fit is the e=o as that used in Pob©r]e and itnkyng).

Again, the creativity of Uenrycon'a used on conventional material

is no apparent an to need no stress whatever.

I. %

3ý3.

(Vl) The Resuoning Betu4x Aigu Ana Yowt2=

The poem is traditional in subject matter (and not only

in general subject matter but in the metaphors and daacriptiono

used), In tore I nd iri tochniquo; uo shall examine each in turne tairi. 5k -

Uiddle English literature contains many warnings by older

people or the, psosing of youth endilto associated beauty, joy

.vý4 and love. There araý. thrse characteristioe of thin type of

warning which can also be found In Henryaon'o pooh. Firotly,

there is depiction or the, cheer, horror, of physical decay: a poem

tro ß. L0. YS. 8arl. 73220 Death ej its PjjjjM l illustrates:

MA- iiyse . yen, shullen dyauen; And his, nose- shal.. sharpen; . And his algtn; ahal starken= and hi a, how : shat . Salesrent And hin

, tonge

_. shal. ataaerenj - (other Pszelen) And his lippen shulle bliken; And hi s_ hands s ., *hulls Quaken f Ani his teth ahulle ratelen; Andhis,; throte shal rotelen; AM his test ehullon otreken; A: ýd° his fierte

. slald broken.. '_.., JJ eI nr enertof the T? given a similar portrait:

The thinio an a laythe lode lenyde one hin ayd©, ,-d berlna ; bovnn, alle°in blake, with bedis, in. hio hands;

Croked c4 courbode-oncrampeschett for'-eldo; Alle distyguredzwas_his , face. ar4 fodit hisihewe, Eis bends "aad. broves

_were. blenohede full whitte,. w -, And--the hare on his bade L hewede ý' ot'° the same. Ile vas. ba, lledeL and,, blynde. asnd-. alle4babirlippede, Totheles a tenatnll, I_1tell 5ows Tor. adthe; And ever, hs ao*elide and went_ moray she askode ... "j T

ý. *do T. Wright and; J. O. äalli*ell, e ý, 2tirrola. (lonson, 141«3), i, ' 6Z+-5. ,. cri,. a so. era ,^. Wright- and tiallirell: .x.,. 10 210-2f cued

. ä. F. J. F"urnir all , mini to the lk ` C11- k. 29 ýr-pp.. 82. 2. eä. 1:. Y. Ot tord (E. E. T. s. 0. o. 246.1959)o

3i"

Uenricon describes A, ;o similarly (11.10-13). Pliyelcal decay

has not in, a decry which in constantly compared to decay in

nature - thin is the second characteristic. Rolle of Hammpolo

in ? hej±Iske of Cow; nge1 cxplainot 0 muht

For a flour at aem-oo fayre and bright� Thurgh stormeo fadem, and tynea pe czyght . '.. '(695-i)

fa flour,

pt alikond s fayre® il to se,

an son artir pat it os forth broght, elkes and drynee til it be noght; 1o aught to be ensaapl© til us; I'or

vhi lob ,_ in a boke, soya pub s

WD

-xan- to a: s, "ais a rlour DZ ient --i First forth comas here till pis light, And as eone broken and passes away,. Ala a arzdu on so. -era dcyt And never ºre in pe eume' statu duellee, " Bot eY passand, als lob tolles; (704-17)

Not only does this conceit have similarities with that constantly

app©arin, is our poem 1. , ý"ý.

0 growthq be glnid in to tIyq noire grene ... ... 0 yowth, thj florrie fedie fellone ° eons.

but` it also helps to explain the setting ofL the-'po m, `a setting

very such like that of The Parlement of the Thre Ast

In the monethe of Faye when mirthei°bene fele' And the s* one of so ere when sotto ýbene °the wedroa ... (1-2)

... There the gryae was grene, growen with tlourea'- The primrose, the perrynke, and piliole pe riche The dewe appon dayses donkede, Lull-faire, - Burgons i blossoms * braunohes full swete, And the nary, myates full mrldely, gone falls. *** (8-12)

1. ed. W. Norris (Philological Society, ' Berlin 1863). " 'Cto also ', ed. ' P. J. Purnirell# M

V, , �ii, - 675-80,. 41-3; s.., ý.

ao, ed. Wi. Cra! B.

9-12. ,. 3?, t... cit., i 5-7, i ll

&on t¬, ºles and fades, olo dos pe flour' flour pat aem-OO tayre and bright�

3450

The suno. re: pha31e,, Yon. the beauty of spring especially of its

flowers,, is found, in our poem (=11.1-1&). This is not merely

a convention l opening; it has a purpooc, ooaavnting on the

thaza of the posers the young man, in the opring time of his

life# is fresh, bsautitul, and _ Joyful; the old man has withered

just as the flowers , till kwither; . the

, young man's joy = Bill not

last Just as the beauties iot . spring cannot _ last, ,

The third. characteristic. of aany of, these. warnings is the

dran stisatioa of : the threat$ # it is put into the mouthof, one.,

who hi Belt h s, personallyiexperienaed . the ravages of time -

he, too, : has. Soltths boys . of youth but: he has also discoyered

their, trauaitorinsaat £° be Parle egt or the e Ages:

"hile: I! wan; ýo age in., my=3outhe and ýýapeti, of my dedy®I I was als eubrroua in arises an oupcr of zouro«aoluen ... 270-1) Dot 3lde vndire - node me are I laste gierte, ß: r4 alle di afegur my face and fadide my h©We, Dothe rq browea cnd my berde blawnchcde full whitte - Aal when. he -sotto-my, ayghtep than, soxe4 myn>hert (283-6)1

The old an In HearysonIaýpoea,. oosplaine: likewise (11. £27-30). bTe .V ars . eontronted : by _-a

living, example:, fThe - PerljMents; ot- the Thr©

I aett: enssap1s bi Lýr-sehe, andzeeke jit no : Porthire ... (269) .. 9 was 3oure sirrours-, bi ae" aenFbi ijaure trouthe;

This , sobaýdowe: in sry"Somwere, eohunie ". 5. ti: no whiled (290.1)

` ,. w,. i -w . Kt t# äb»r %. p", «= sw q+. %. w 'Fph xi. kd z°10 'ýet<_"«.. i. 3 iti 3 K+ 3 ii iss Ys ,»y:. ii '

1. Ct'. ° aiw b 11' ad. F. J. ! Purnivall, pp* 83'S"°`ý ed.

.t,. Gavin Da, vo e: (Edit burgh ands on, ,, 85-120 eo -provides ,a living axaapie of the transitoriness of youth. For the' "'Y A uncertein authorship of this poemoseo Priscilla Preston, §Did Oaýrin Douglas write '; -ßý=:. c1t" _wA'Piorenae RiQ1er 'D1d Oawin Douglas write K j" Ha14? (j2 uff, z civ1959) , 2-12.

m7 #^^..,

ý n; 7i=Ail &} sJ :i

546,

Quhe. n Phebul.. ýýerankeoltie

". be aye_ your eaapill -ye may ee (37)

HoAr7soal

. "" Luks. not shy 1alkly luking git I li© (31)

The old wanIe,,. argument can thus be seen to be part of a..

long tradition, coatraating. the: terrors of old age with the

joys of youth, as trot the contrast drawing a lesson; . this

lesson is coa onlycezyresped by; oomparison of the appro(ch of

old ego to the- fcdinö ot-spring end, - its flowers$ ttnä in oozaonly

spokes by one mho: hisselt provided a living example -a drematisation -,: ot the. threat he"'uttera" > , 'This warning, traditional

in iteelfj lo-a Yestige, of the universal laterýmedlavai_theae (in sermon material, where. it is-. ever present# and.: in literature -

in an extended ,; or*; in. the; allegoriea)_;. the°. transitorineoe of

this worlds

, the Point-of -ýrlew_ofAhe-young -man , can-be seen elsewhere tool

the bebevlourwof Troilus (in Chaucer, ©. poe*) arAtiof-, C reseeid

4rsuatised. hir.. valuea. the iyoung Raw la ThePi. rlepent -ot he

ZMz Aue , voices the *aee r1`eelings: A rd %than ka7re , to the w tourte that; Z come trop With ls4 . tulltiouei. y to lappynAin -myn ermaßt AM

. olyp , thsim aM . lgrsee ýthsyn and comtorthe myn hart;

And-than with., daissele-_dereýto. äaunsen>. in thaire chambira; Riche Roaance to rede ...

w ... With renken in r7otte_, to reuailo in haulle, rv ra iWaoundythee -e. nd-carollee'; ezxi compgynyee Garet "AM chess me to thoA'choaee,, that 'chele°es`ot, gamnea;

And thises=2ite'tor*to°'ledýi whileýI sahalleýlyPe here; ry,

a w Y. ' t ss-=. w a gas '. p . sw..... ý2

w>A 4r 4e%<. äs ,. l .ä . a. g: 4'#ý +a, a+ A: ' 4.4zow .ýt, """w1`(ný, 56) f. i+6-

routh# tn`Henrosouýs poeatrbocsts siaiiarly that : h©, will; a,

rw° ; In a+tareit. -place# Quhairwe ma. notT--be. cene, And sovwith birdie blythly, my. bßilie-beit$ (37-9)

.r)r-

347"

The young tan1a protestations, are, illustrated by, their appearance:

they are h&; py s (kIearyson stresses this- in 11.6 and 49) und, they

are perfect phycical beings (we r©moaber too tho original

beauty of Crecaeid) t

lie was balthe in the breate and brode in the caholdiro, His axles_, " his arsee_were

saiýliche longo,.

And in the medill ale a nayden menokfully ßchapen. Longe legges, and=large, and Idle for to echewe ... (112-5)

""" AAnd helthroly was threuen of

rA,. ther ; onge and ; ape# and Sou t

be wpre of eldi;

as his name And the samely[estej seggo that I ceghe euer (133-5)

Hcnryaon"e young ian-boasts -his pbyalcal prowess (stanzas 3 and 7),

and illustrates pit in his movement: (-1.17)*-,

The torn; is"ss°trsditionalcas tho subject matter: The debate

torn, coming-trog Franoe, I beoaaeýestabliehed-ln Britain-stoo.

rsrhapa the -earliest"written °here C. re Loose in: L tin attributed

to Walter Uapes, 2 but vernacular debates soon PolloTet$ ~ ror;, excmple,

The Ogj and the STicrhtin ale. 1t. ' 2e:. to , this tradition that

üsnrýºsoaýs piles, =aad. hi" Res going, Betüix- DethaM Sian belong. a Our, poe& has:, tha: trsditional-: opening, -. a toot.; whiahdoes not, of

course, mean that it'3is irrelegant =Lo theaheme to toliow.: Ito

cazpar. with Lhs: opýaingýot"the tirteenth century: sºs'and L2uý Hondo

, -, In : the! tirat woke : 4W, the° eaiaounäott! uy than the Lodes be couered al in grano ine whIahs the nightingale: fiat for to ploy To � ihee.: hie : Yoix amongea t, p..,. thorns k©ne

1"' ? Its äedlsiral origin, as a Cärölüigiän"jmitätiön" of'the

*. r alaaaical, aeclogue` ax4 its later, deyelopment are,, trace4l, by `J. li. ° Hanford, Classical Eolorue and'Uediaval`Debatep ThSt_ Uanic Reviey, 11 (1911) 9 16-31 and 129-1e3. The 14WI L2,681 20=04! ialý To arlgAt en Rmlety-, 169 Lo onº , PP" 67-106. These ýdl&p4tss-. appesr in several-tranalat Ions -9given: inkthis edition of. Mapos : LatinPoeas, pp" 299-349.

3. eä. E. P. IIc . aond. l: xxxiv (1911), 235-65"

348"

Theim to reioisse, whiche, 'loue is ceruantea`bone Which -from al -co=fort thinks theta for bchindo Xy pleasir, 'was - as was after seen Btor r disport to chase hart and hinds (St. 1)

The narrator Goes out into the woods in spring Limo and there

coats the cozbattants of the debate; a very similar situation

is founa in The Perlement of hehre Apes although there the

dreau device is used in addition., f3inilarly in The Owl and

the t3ichti ýýletýýý.. ý_ý ý . ý. ý t _.. r _

iah. wss: in one, auseredale; In one supe: di3ele hale-eý I herds ich Aholde'A grate' tale -- - An Rule and one Iti; tingale ... (1-4).

And our poem shows a characteristic type of ending: it In

inconclusive. It ends by restating the views or both men. a ! -"5 a.,

, tom r a``i ,

i. .--..,

In the debate between the Eye end the Heart Venus does not judge

but sende to all lovers asking their opinions = and there the

poem ende; The 0.1 the ? tiahtin&ale ends with the birds going

off to submit themselves to 'Moister Nichola's' judgement. The y

-. 4 Rk 6ý.

'w i. ' . `i+ i� ` +d

-' P? 4+

M

4M f Er Fý wr as >

ending of The Re8sor}1nz Betuix AIM-and o at! } might also be

interpreted, as saying that the contestants are both right; and y

rý Äca - ci

ý

here' ire--also' hsvö parallöls. Far; instance in the thirteenth -- m' R .. `- `wä$h p9< fi M., . ''"

.... ä #" "-, Vi..,, as: V's

2 s. ̀ 2"' "y gäß eQ -Y Y .. e. aY L. i fi' _

century French dispute between Water and wines odb arc _ ý5

2` = r^ Ala . iM1 6 .. iY4,.

-% b

sv .-y"ýtk..

Car arýuant ̀ 1 Yeritd äretraireý. M=:

- Tous, sates bana at,, n9a4esaire Chascun do fous on sa esson.

Our poem then has an obvious connection with this genre; but I i`r ? iA - +'W F. - ýti" ' (aq "r pa`.. '3 aEx n- 5'

-a te ý bx zy 4" a.

y as ie xa..

b. k . moo i:

think we can see too that it is part of a certain group within s. 3w1ei :4 ty ,

,, I"= 1

. W.. eon Fit. '. ̀ f e"x «. w.. ,. "... "5':.,

*do - Eo 06- Stanlas- 0326- cite i-11 äßt. ' Vrisht, 'Peäö ön

attributed º a1t MaDom OD. alt. # P90,299-306, 4

349"

that gears. e Y,,,. arý3_the ii_eart ie also written in "the Monk'o

Tale atanzaj ite-is winteteating " too that - at " the' times of'

dispute - the-contestants debate in-alternating stanzas, as in

our poem. Ho'wevers r it Tuet be admitted, tho 3 onk' © Tale stanza

Is very comaoa in the period. A more interesting comparison

can be found with two other poems. Firstly with A Dim

betten s Cler - and. eTu bandnen. l- 43The poem begins tr&ditionelly:

As1 I cotthe"talke=because-of reoreacioun Be a grens woae syde so I kaue I herde=a reruolseCoosynyaacioun Detwene a clerko and a husbandman (1-4)

The characters debate to (alternating stanzas and each, as in our

poem, has his own refrain, the clerk: 'Quin

amore l iio', the

husbandzens 'Turn up byr haltur and let hyr goo'. The debate

enge inconclusirely. The stanzas are of eight lines, rhyming

a, b, a, b, bp a, b, c. In fact the only difference in form

between this poem and ours is that the metre of the former is an a"-. e1 3" n ý` r

irregular tetrameter whereas that of the latter is solely the

pentameter. Secondly we wist compare our poem with Dunbar's

n 'pZ e that u rs ýd fps tine: 2: a<. Thin also opens= In a" ,y I n-'

s; ring'aetting with" the'narratbrä overhearing=

° In'Its. y an- that' Aurora did upepring With cristall one chasing tho cluddis sable# I herd a marls with zirrj notis sing ...

The birdo debate on much the same subject - the treneitorineso

of earthl7 lore - In alternating Monk's Tale stanzaep and each

has its respective retrain: the blackbird 'A luoty lyre to luve®

L eä. C. Browns Y Tj , xxxi ii (1918)t 1415407"

2. v" QR. Sit. * 1i t 171E-8.

350.

acheruice bene'j the nightingale 'All luve 1a

God allono'. fiere, cämittedly, the debate is

the ciailaritiea arc euch, in my opinion, that

to argue coincidence. I would suggest that tl

certainly I en ycon an i Dunbar in any capo, are

fora.

lost bot vpon©

revolved but

it seems impossible

, le three poets,

using a recognized

Content and form than rely closely on traditional patterns;

so does technique = in Its use of alliteration for instance.

The extraordinarily close pattern of alliteration here reminds

us of parts of the ab lliie, particularly the description of

spring corninna in T, Yon and the Loug, (1--21) and The Fox trjed

pcfor' the ! (71-8). It is used to intensity the themee

as rind too the common rhetorical techniques we have found

elsewhere in faaryson's poemaz the 'both ,. " and technique of

emphusiaing size and importances '2 }firth an Peildis

treschely had our fret'(2); the use ot. repetition with cumulative

effects

Ana froik on told, all fora . and Ile. fre

p1l glsid, caY, PýA y1ng, V a� yaip as Via (28-9);

the use of balance and contrast (the Oxy l: and 'thy. ' of stanzas

7 and 8; lines bj and 67).

,_ ..

ß .,,

..,

ý-v ý

sr#- I

351.1

(vii), The Praia . of Mge

The poca is partly an old man's complaint - in the sane

manner as the complaint In The Rtee�eo, inc Bet !x Al. © snd Yov? th,

of the folly of pursuing youthful. pleasures which runt perish.

flow traditional this is we have already seen in our examination -»

k *.

v. -at a. rx »e x, sW- -r

ý"5 ýY ý Li

of the Poo and there is no need to repeat the evidence.

Tharp are, however, a few additional points which must be made.

An in the Pjseo r the opening is set in the traditional

garden with the common scene of the narrator overhearing; but

hors we have, a 'redsýrosere' featured rather than flowers and

green leaTes". tiawever,,. this. too; ham parallele. The young

man in The Parleaent of the Thre t eel wears:

A chaplet one his chefs - lere, chosen for the nones, R ylede alle: with rede . rose, r1chosto of tloures

- (116-9)

Dunbar bevinsa . The t ýen°Tar, aý2" siailarlys '... I raise, and -by

a rohere didne, rest! (13). The-explanation for the use of this

convection, which -can be found as esriy.,: aal,. + Roman ae la Rose, '

can: be found. -in Iy &ate! a, Aa ,r ses3 °- 1_ .III" : I�

2at . to ri *an boo eta of . konrLyng for tertu, Off tresour" richease, nor of sapience ... (1-2)

,., n £o+wen: bath,. wri adoe, t eocman' hatte eloquence,

Al stant on chaung, lyke a nydnomyr rooae.

. ý_ . X201 in-welling be-the H soots ° ftlourye,

Yul delitable outward to the eight; ý. . the thorn is. sharp, °. currd=with freash z colourie,

Al is not gold that outward sheeith bricht; (7-12)

2. 'xorka# 2D. all$ piip 1-20. ' Ro ore' ,ie. rouzý4 1n , Lho .A

annatyz4 roa r ;, aoaly; . Maitland Polio-reads ! rivers'. P mow, - ;. ý., -a +Y.

3. ~Iä, äi" UacCrackenT o2s-. cit. it,

352"

1ºý; tto s7mbol or kin ship as : tho highest of earthly ettatnmento

(1.28) can be paralleled, elsewheres; ThIo_ Qrld is but a Vanytetl

At hl_ noon y -was. crowned,, icing pis world was oonli at vq wille; ...

... Row age ; is.. cropsn. on. =e ru1 stille ... (41-5)

in additional reasonf is given in. 4this: -poem for the folly of

youthful pleasuresi,, not only. does youth fade, but the world

itself is variables largely bsoause*ot oovetousnoss (stanza 2).

Tho adze, rs asoýn. is given, (in such. the -_ s ie type of ' lauditor

tcnporia acti's. fora) as in' oje. thg, _Schein and the Wfs

Be,, howf the. curait: Yn of.. cuvatys ejltt _has bs th_-lufe lawty and law 4, se 155 6} Now u mon is haldin for no ayn Now ie. he b]jaht "ithY okir-aan-most wyn, rr R L-entreis is sinne and pety In ago (165-7)

so far we have- -discuoacd'-the 'poem as- though it wore uimply

a roatatczent of theT old man's complaint in Tho Rposoninc Bctuiz {a

t 

.1e rn4 Y2wth. But, of courao, it in very different in tone.

In thnt poan the old man showed nothing but despair at his statej .., .,. s osR .. -ws ., -. osi. a. w.: +b Ye w Cn 'z .Mx v*af

ým

this man rs3oices An his-, old age because it brings.. him yne r to

God.,. -ýIk have beta. able to find-; no4°parallel to %his'j, theme v 4, earlier

(though I; suepeot: it, ia: traditional), but there are two very

interacting parallels in diddle-8oote. Jliteraturei.; parolleio which

once again: gtve. evidsnae-tor at least; acomunity ot, interest, a . ,. ý t. -s, :.. x"s0 o- s}L. mt we iý 3ýý ai s -16

L.,. *' --

common atoc1c ot, thought`, an . tsabnique, s and, _perhapa even for direct £+.

Mý R* Y

'. s1 o- .. x +ui(. e

e we ýr. $ of W i~

ýW Li.

a aR ý` A ýiý d ii

imitation. : By.. study Ing. suc parallels', ýwe-gain,. some.. uz eratanding

of the l attitudes . towards -.. tbe *. theorv,, ot, =postryý. ourrent at; the: 4tiao f

o itudss he]de bx Herryson_aa well as by those who have imitated

Oft,,,. v Us,; 'pp: - 83-5.

353.

hin hem. ubu! a Uow C *1e ,r Alge Quhair-Yewth beg bonel ehouß i . rirý

exactly tbo s: "ze thoesi the tale ness of the thingo of this

world q b1ia ,lu. ºppy youth] -the ; oozing of age shows non the

truo reality the love of Christi

Ue culit is done Venus brandfý T r+w luri s: 2lre

, -i a, ay Yinclill"t ti And I beyyn to uniirstand, Ia 1tCyait r lone = qu. hat aoly ; bone I Now curiealgo quhair yewth has bane And-tr*w: lui s ryess fro the aplano ... (1-6)

... Quhair I wes hurt with jeloai, Ana$vAjd no luvor, wererbot I# 11 ow quhair .I {lute I ,, wain all w i1 y A1s yei1l gas t , ions vanes Now cuaia aige quhair yewth-has bone ind., trcw lufe., rysis tro. the epleno" (43-8),,

tier* too, tUo -rorratn -. sums . up the "4thomo as , it does. ixi our , poem.

ELth X. nne 's: At ahQurg - LA illiI o', tho n1cht2 there am

CTcn closer rase*blsnces, in both subject matter £nd form. In

both the narrator (though in different circumstances) hear© an

old man aingin ; gaily s Kennedys

An* algit an somit seztia yeiriu of eicht : bis sentence sett and sang it in gut tone (3-4)

11. w3 of flan rsou' a poem are very similar. Youth is folly;

old ag brings holiness;

Grose Y osth to uige thou on obey and bow t1q toll lustis testis skant ane may That Um nwcavitt In naturoll Poly now ... (9-11)

... 0 bittir yowith that semis delitious 0hl, y alga that matymo omit sours 0 restless yowth hie bait and vicious 0 b=ast alga tullillit with honoure (17-20)

Ab in our poem tho coatezporary state of the world iß condemned:

1. ! Qr' rct, lit 179"82. 2. oä. Ritchie, jhq n2eL anuscrip a, o-- , no , lit 131-2.

354.

This trarld 'is sett for-to, diasaive we evin pryd is the nett and coveco is the trans ... (25-6)

... Law luve and lawtie gravin law they ly Diaaiavlance has borrowit conacionce clayri© Aitb. ie writ walx nor soils ar not set by flattery is. toaterit baith with rreindle and fayie ... (33-6)

Because of the falseness pof . the ; world and . the folly of youthful

desires Kennsc1y's 'aigit man' does . not sieh to be young again: Lf1. '4 k3

4

he cr1e2 eo (like Henryson's protagonist) to worship Ulm in whoa

stability is: towdt i °ý . ". v ... O potent aal eterne god in trone

o be content , and ? lute Ithe 1 half crno That ry licht yowtheid is opprect und done ... (5.7)

... Yfor na reward =azoept ,. tbe Icy of aovin ra1G I ba yung in to this warld agane (27-8)

Both poc s are written in the Monk's Tale etanaa, both 2iavo rotrainn,

and both use alliterative devices contently.

ýý

> ýn `_. ý tý ;,

ýk

ýýý

355"

(Till): - Obey r. ßä thank' thy god of all

Advice to acoept)the viaie'situdos of life, indeed to thank k

God for the, Uraa co on in poetry before Uenryoon. Chaucer

E3voa the rlvica iä)hia Sä ode 1301 Conperyviet.

+ec ; eat. thee-noglit, al- croked. to: redresne, ý In trust' of hir that ' turneth' as a ballt Orel reite, staat1 in. litel

_ beeinescej

8e'War, also to sporne-aysnys rin al;,

... ritryv nots äa, doth6 the,, crokke with the wal'... (8-12) äzýor t2ý contree look u, thank Cod

, of all; { 19)

as mote that Chsucer uee3 Some; bf, the s= a typo of provorbial

expreeeions' ea-dons our, 'postl (1 : 3O:, ý aryä the rpfrain),, A poem y

in the Bn. ̂,,:. ýtyae 1. en iecrlpt' kths 2 jaropoee in my cart, lnr2 contains the Isaac advicel

'}F #. rx±

ýýP asr-t

aelcua be- werd as , evir=Cot will '., . (5)-

... Eias or`diseise -quhilk god sail send anYk s sail pleies-, eins, or; -, dleeies air till obeyiaa Till 1yte mak end Eise or dinaisa quhilk Coo wi; 1 send- (13-26).

- Afl. anon aum tifteönth century poem L! rte+ nur hert"g with cod

or e. U3 be the retrains 'Aral thanko cod that al hath sent.

Again, Der) arseiüä"ý°rom the irn6ri. '. enript "or the later

fourteenth century (8od1.3938) t týF

_ . -. _ ., "t: IIle

sf er" ar ro: - Y ý'

1. The pxvvsr ': ta `älsö üsed iiiTýe� Qe,,, jý, entýgtýCreaeei ý ; 1. °l . 2. od. =R. ttobie«° The'Bannatrn,

ýý i Yana

s 349"50" Niy_L, ý*

X± p

3" eil. ... M3 rightýu can ,a -NA Climl the X&9tQ. Cg-Atm ý. -lipyw ..:. -ý

ý. ý1ý "_ faa`: '"w+7k

,ý .`ý: Ä°$ 4+

_ l"'"`. A

,i+, ý.. ".

.. ýý ; 3, `

4.4. ` H. -Vsrbagsn, *'DW, K2einieren" Qodichte'd, z, Vernon, =-. ui Oi.. o. '2lancieehrittf, ° fii-(188lß), ' 287 ý'_`Cr,. ao°

, 'C: *iroýrn`-9 .

, ge?. xic+tts 7. ývrlce ut1t ,° B3?: '28.3-4*

356.

pons I wsore out or borsch®r brourt, tJhat üolp Qeore to na to oayc:

Man.

In ? none of "god what -ever be wrou; t, I schal saie Deo Gratias. In rlachef and in bonc1of -bop© pat word le , good to aoje. an3 cyngo Ard not to wc, 71e ne to be vrope, pos3 al be

, rout at, ure i. y nce; (45-52)

Az night be expcctcd, eery ons . recorncnd the arme virtue:

But Kara ye shall vndirstond that ryght no Crict-afore is passion pro7ed `that to passion e: rild passe fro hymn for he was so sore a-dred of is doth that he airvtt stress of blod Tor drede of is., paosion that he kuot e was cor.. nynsv, arA llt' ho Cold to is Fadur, "thi, will be doand nott 7n", and co ahull not chat-euer}that we will dvoire'. ot God, `putt it all` in iQ will,, for °he . rill do, the boote for vs j Ltiogh it. be, stralt- and" hard`'to; ps

eo haus, then, enough evidence to. chop that the poet was

writing within n' traition even witho ut tho evidence of courco

Latcrial pointed _outabj, 0. Oregory.. Cmith. 2 Uo,, choved tho great

oiallaritlos -betwo: n ours poem anno, the one in the bstoro contlonoä

Vernon U=uscr1pt. 3

1. U. O. Ross, Middle F. nrlish 09

2. ` ý'. 2ema,: QZ,... C, IG; 1, Lxtr111--lxixc: 3, ed* ti. Varnhagen, 'Dia; 1Ueineren

.. oediohte der-Vernon --. -und-, Cineon Iisnduchritt', or. c, 1% , pp. 306--9. Shorter versions

c. °, -are found in°LZ. °Hoäl., 2169b#. 7rol.: 15a (ed. C. Drown, too the F teQ Cu, 2nd odn. , rev.

)�V. ,- rs jctogd p, Trinity Colle b: _z Ctab. 1,450, f g1 25 (unedited); D. 1d. ZUS. Cotton Calig.

1l 1i, ° ! ̀ 01.68gýeýtJO. H&lliwellg d '9 Y [Percy Goeie% 2, London, 1&0], pp. 225-6); 13.14 US. Ulorne

. 1.2593, .. tol. 19 (ed. T Ti Wright, Cýoru etn �cam rrom a

kcnuscript in the British Uuooum of the rirteenth century (t srtoa' Club, `.. London,: "'1856j, Y pp.: 56-91 Princeton U8. Garret-143# Vol. � 17 (eä. R. K. Root, 'o eas rrom the Garret k3. ', En she fltud! en xll (1910), 374-6).

1Yt ý'e. , bwF ýýc R ": ", 4r

r3. b s4 + .w[-. 0

357"

0 The evidence seems fairly conclusive for as Smith shows,

not only are the first stanzas, although differently phrased,

very similar but there are ac=e alone verbal parallels. But

if this poan is accepted as the source, it must be admitted that

our post has considerably modified its not only cordensing certain

parto and adding ex=plea, but alto, to EW nindg rcdioal2y

altering the em; haale of the poem. Although the original otatea

that the fluctuations an-1 adveraltiea are ßod'o will it also

const&ntl, y reassures the sufferers of improvements

God sende his [Job] hole and oatel bog Toun and tour and steeds in stal, For he never gruoched in wele no wo Dnt ' ever )Dated god or al ... (45-8) In what neschef put ever we be, He is sihti, irony, ur aorwe to slake. Good axis. -Ass be wol us make, And we to his wog" aria and aal ... (83-6) 1

It wo submit to His will He wi11.. restore happiness either in thin

world or in the next.. The** promises are not offered in our

Foens the saphasis is on thankfulness and obodionce, uhatovor

the circumstance.. We note that-the, refrain-in the original

yosiwss aerel' 'Euer to ponke ßoä of-al'; likewise, in Chaucer'a

poesy, ns we have seen, the phrase roadsaerely,! thank God of al'.

ßod! a will. In our. poem we are repeatedly, urged. toi 2key

., Besides# for. the poetp, there, can be no question of restoration

of this worlä' " possessions, for they,: are: " Inocht -bot Terry-; ,- Tanit3. I

, (52), For the 's .. _, .,. ",.. e .

- ßa12 -abt endeur- at thy des3rre, Bot an the wind will wend away; (11-12).

1. Cf. also -21. HI l05-ß. 118-20 it 131.

358"

41e¬` c nrot s V# as does the other -poets ]pia world is good end. nou. 5t in gesso To hen at wolen kuynde be (121»2).

Our poan, then, is thus linked more closely to that tradition

of poc e decrying the vsrioty of this torld'8 possessions,

cz haoiaing their transitoriness, their fickleness: 'This

changeing srd grit variance' (41). or course this is not

basically the work of Fortune; It In God's 'provicioun' (42-6).

Bo Henrycon has imported into his source the problem of the

apparent fickleness of the world - at some ©tage one might think

it ruled an by chance ('as aum con asyle, without roocoun' 44). But ho-has provided the answer given by Boothiue:

and God, byholdero and foraiytcre of alle thingis, duellethwabove ,: and-: thepresent eternito or his nights renneth alxoy with he diverse "qualite : ot: our. defies, dispensyngo <

uz4 ordeynZe codes to godo men and toraenta to "iküde aen. ý' Ne in ydel:. ne in -veyn ne boa Cherrput, in, Ood'6hops and prcyorio that no coven nat bon unapodtul ne withouten effect trhan they been ° ryghtrull .°`

The'conccptioa is certainly not4new in literature, of couroo. a ý.,. w .,.... ý ra ¬. rr yr . ý. <., a . eft. Cb arx k, iwý sý °s of .a".., n. . <,.

The denial of determinism the arbitrary rule of Fortuna is

found, for instance in Ki_-, nris Qunirr und, by implication at least,

In Chaucer's Trollus 8M4 Cri p. in#üpnryson' c Teatrmen of

Cr al srQ Oraba}ta J_rA EurIaioe: " ztx"

Other; differenoes -between. our , post 'su d Its source are perhaps

less &zportant. , The poem As considerably shorter: , the example

of Job ` is'r. düc. d to pits bare össentialsj some general examples -

joslousy of nolShbour's prosperity, betrayal by friends - aM

1. n hit *b ire , Bk, V, Prosa 61 Robinson, P" "

359"

omitted. Ruch ot, the original pooz 1a essentially repetition

of the main these; this repetition, -too is omitted. An addition

lo the ex. plo of Tobiaes Tobias 'malet full of charities (18)

was 'tempit with cdveraitie' (20) just no much as 'maict riche' 5 A_

Job - cdveriity befalle the very virtuous as well as the very qM n

rich. The setting°, is sads more explicit. The original beginnt

'Bi a way wandr7ng -as. I went'*- Thera le no ouggoation of the

abbe e®tting used=b7-our poet..: Wood writes that tho Betting

'aey augieat tha ° great Benedictine `Abbey of , Dunfermline, in the

Ora:. aar and Song f School of. -which, the poet taught'; ' a suggestion

2 first made by ' jsing. But tthey f have overlooked the . feat that

sich a bagina4ng Taa'not an ýuncoawn feature in contemporary.

poetrýr, Ths : poes ~a- 4rjºtiae taantioae t batora, -presents the

s arrator in-Church; . the , was -at"prayor, a clerk brought out a books

Fasts`hs:: sou#te whathe: iohuldo sYnbe" Aad al was Deo gracias" Alle queristea in at quer On )at word fast gon )ei cri; (7-10)

Us called aside a priest to explain the phrase. A Lajnentaoion

$_tq n ai, r1e3 begins:

1. se eMFabls , OD, it., po xiv. 2. gis eý Febles, CROg , pe xix. 3. od. Mr.. ß ancii son, The n 'vent U6 d1u Fn ia,

o Ds c1 ., pD. 105-9. Cf. also e In may morgynizw eýi. b. u4iaoaý Chanson vu,, _p.. _

which tolle bow the narrator, had- a.. v elon of, Christ and- , 4, certain of-the°apostlee ! by'aebapell: ee""Iýcame!. ý >p Z -i «ý. *n

4, --.

I af w

. '_ "ý'-. `.

,-, .f. 4 Ä' ýä. Z�'I

t-LI. . _I ta7;, .« q t., ab d" s

wý

360"

In a thyz h an 1 &an knelle Thyn erdroa dey for to hero Qoeoe, I an'r a ay3ht CO lykyd r©11© ...

.., Oure 1r2j and hyre sonne in tere

Reeding advice on a wall is also to be found elsewher©s ILyrg

a14 Of-o rind 4Y not alll

Throve a tour as y com ryde, Y caw rrotyn on a wall A 2cffe of letterys long and wydet 'üyro and sop and nay not al: ' (l-'L )

kotre and verse form remind us once again of the question

of genre. As in many of Ttenryson'a othor directly didactic

and religious poets the rhyme ocheme or the Monk's Talc stanza

Is uaad. The metre is that or the source# tanbic tetrceter;

it should be noted that post of Dunbar'© poemm ucing this rhyme

scheme and metro are also directly didactic; end that the aourco

is but one of many' similar poems, found together in the Vernon

Ua=ncript, with the e&me verse form.

.. a ý"

.+p'-P

1. Wo Sandison, 1b4C, nson �'Aventure, ` aI v PP. '121-3.

The sum convention is used in a el Acm Ir fod in ed. J. O. Hallieell, EgXly 1s in pro$e arAi verse selected from an unedited manuscript or the fifteenth century (warton Club, London, 1855), ý pD" -62"5"

361.

" (ix) The Aantnciation

The ultimate source of The Annunciation io, of courcot

St. Luke' a Gospel (i, 26-38) and traditional ©xegaaio of certain

other Biblical passages. The Gospel account toile of the sending

of Gabriel� of his Greeting gart', of her fear and of her acceptance

of Got'© will. All these events are mentioned by the poets

though reordered slightly - for instance, in the Gospel account

Mary Is afraid before Gabriel haswýtold her of God's purpose

and aided tos there is no' "Brichtnea fro bufe aboundis' (20)

in St. Wks. --i There, laino'verbal -parallel between Gospel and

poem# auch is omitted,. sod the emphasis on the virgin's chastity

in The AMunaistion. is : an emphasis of one facet of that story

(vv, 34-5).: . -The poet. then Is not-merely re©tating the Goopel

narrative.

The allegorlxation. ot-the burningbushh and of ºron'e rod

hao its ultimate, eö: irce'in-patriotic, ýexeg©aie Thue Bode,

cow : entin&` on" codü8`iii; 2 of "(Loy$es] . 1Qebat quod rubno

arderet, of non combureretur)ý ritco 'Alü por rubun canctc

öriic , öiýnifýcari voluat, , in.

ýQun__divinitii® lürdöbät et nullen

dotrizentun: patiebatur*l iAnd, of. -Numbers

xv#ý., 8; taeQuenti, die: ro

re ssus# inyenitye ge einaGsetr , Ylrgau'Aaron-. in. do o Louis Ot

turgentibus %geat. is. eruperant-florss,; qui °foliie dilßtatie

a: yF, dxlaä detoraäti aunt} he: vrites 'Alit Yirgen h not quaö sine *,,. ,.! at a. ... ý.... iP

- ....,.... ., . +. <ý z., w. i..

« hera. ý. 3 .-s? ý! '44ß fF is z v.

5

r

nazori °floree' protu it, c llar1 putCnt qüea ý sine ` coitu, vir12i { RMR eý s, '' f-'"

, ý,, n

-_ .- -°abwc=W+bL+ýsrw-ýw. 4e -. arý. w ., lu. 4ýwn -. ww '^Ä- }(+E A4ýýT'rt-ý`Y. F+`Yý-ý

1. , ZB, 'l+ß iSý. Qýua ý3 ̂ tarü - Exg4tu, E, P' L-. zoi, col. 293. v

e4 ý, " r . ter

362.

° protrtllt Fi1iu bei; -- de "qi Racriptum estg, . Exi® rgä de Irs4l

Of course thi - story-' had'-been-retold. conntl®eä ý times*'" ' 8e=onn

had dealt with it, `öften'etreasing the virtues of-'t my"rund"her

power to help2. lind. there; were -very many poems`vritten in the

Later Utd le Aver ý'asý`esrl&er, retelling -the Gospel ator, ý3 and

using the se Biblical interpretation as our, poet. Chaucer, .. C

0+wr+..., A

Vi

. AC. 3` ..

9r LX, M1 o f: -iA. t.

Ai. rse..

translating Debsileville, in the A. Bza., writes:

itolaes, , that laugh the bush with flawacs rede

Branning e j- of which thor never a stikke brande, fites

. eigne of thin unwemed maidenhede. Thou° art the"bueh'on, 'which ther gan descends The Loli' Ooot j the whioh'=that Uoyaes wende Itr 'been -a-tyr; and "thic was in figure. (89.94)

In poems by wan xe find _AýU 4tr ice " Y'1 % f. ', gxi

Dahold, the yards of Aaron ttazoysted bare 'a floe re

7` Beholds a see , bom ts ýaturQ4 (3t. t 2ý, °11.3-4)

Aaron yerderwithowte-, aoystowre, ý ;_'; ý. .w Thatte longs was sere, a flowre hape born: " 6o -, ache -, hatte bore ours sau roars To saue m: n nde, thatt was forlorn

eriu 5

In Pente rýrrrjwa_Qi Con*entsr1i - T? umeri, P. L. xoi, col. 367. . ý. rrrrýrý rý r. ý w  . ýrýr iýo .rý

29. Q. 2oss, 'idd1e , 7, i; 4 erons, or. -it,, rt Pp1p. 318-26j-.: 329-36.

3.7hus, h" iati of the V! in Ha , ed. R. Dorris, A n' b. ä. Tý ti. .. , 1#9, re1872),. p.. l0Vj rar oas, poaaa o an, ed. 4T Zupitzer ° Diep 0adichte-todes Pranzikaner& Jakob

, Ryman',

r lxxxix (2892)p 260,277,

=ab rlgj. t. ' 11 ß! l8-93 i' 313x. 6; x kgr'. azul, s' ogt e *do,, X. " 8at sraa on, , Pp. 7, ö-11;

. etireral.. fitte+n century. ras- , ed. C. Arown, j,. pp; 10 ;I r, od " Minjur : _=nfrolm or., h-g*nt 120,

PP. : 33-4r 36-7s-79-81*- And-ma nlr of rs. 4. ed. J. 2upitsa18'Die Gedichte des Pranaikanera Jakob Ryman',

22s -S,, PP- 5-

5. ItIl. " pp" 293'4"

363"

3avoral of these poeza refer, as does Ve Annnunciatton (11.53.60)

not aerely to this event but also to the death or Mary le Gone

Thus, in Pec to utatio ooeposuit An^elve ßabrie2us, 1 a poem whose

central there is the sz. nunoiation, we find Audelay writing:

Heat he oat `ged, batelis beds to al p[e] flok, IIeryng on His chulderis bloo re bole Gros )st kene a. knok

Unto ours eddy too (27-30)

And a very large number and with asimilar, plea to that expressed

in our poem. Thus in a thirteenth century poem, Qabripl' e Ore stir

to Our ei, we find: 2

Maiden, moiler aakeles, ot, silche tul ibunden,

bid for hue in pat pe chäs at waa )pu grace tunde0

)at be forgive hue sehne and wrake, and clan of ours gelt us make . ". (49-54)

Of course this is. a coamon onding, not, merely for poems retelling

tho story of : ns Annunciation, but, also, ot hymns in praise of

Lisr? " 3 And we suit rem bsr that our poems an was pointed out

in the opening pa. ra raph,, ia not merely a retelling of the story

of the Annunciation. Uary'a virtues, especially her. purityp

cra atmsa*S throu2out.

1. od. !. X. Whiting, Poegscgf John A31401 My (E. E. T. 8.0.8. 184, 1931), pp" 159"6O" -

2. ed. C. , Brown, - A gg of '' ot Cen u it Q; u cit.: pp.

3. Cr* those by' Li gate, r roes of Jo hn hydaat , OD s, i, 280-329.

14. Of oourss this combination is not news see, for instance, R7m 's 'a jAlywhjtgq od. Eupitsa, 'Die Godlchto "s rams aners Jakob Eyman., Cvo c

.. it*. º pp. 187-8;

Audelayº's fie;., 8alutatiogp_ a y11 Aa ý. _ . s ßaUieiuap c)., citt.

ýý M1a, es_. i sia 3't

o- jarr3,

k r. +s w.

ýk

i r-, -_N s. x. - . _...! Tax sýx m[

-w fw H.. sa

w

ý,

3614"

VS ia; roaiuctory; pa$aags ; in, pralae of love ha a no parallele

elsewhere in JnnunciatIca, poetry. _However poems telling of the

; over of, love. are nvusronsand some,, begin, in similar manner to

Ecurjson's. Jor iustanc©, . a, fourteenth century poem# A&on Qt tja Love of J.., a ! ý,

ZDegins .. ýý.

"a

Lur es. lytýpat lasten sy,, par. `it. in criote ea; teste, Por-wele-no-va it -chaunge-may, ale Wryten'hao men vycesteo

s xlght <<it tourney in-til. -po day, pi . travel in-tyll raste; f bpou . il lut pus as-i say, you mürbe wyth, pc beste.

As in o ur: " rz,: --., 'Lot'us rra barrot 'betias' (5) -'love removes

ah Ills. ýý m_ý. . ýýb ýý ý"

The verse 'tors 'provides 'several-points or, interests , it, is

a twelve lin*i-etansa- rhyuing=n, b, °. e,, -b, b, a, a, Rb, b, at Sit b;

the art rss. 'ea3#2ines? ot iubio tetraaeter, #the b rbyaes those

or lrrabto-triaeter. - ýDunbarýs poia one Bai1at"ot our 1aß- - --

*l o doaling xith tbaýYirgin Mary i ýehoulä beýnoteäý--ýiýo 'hat, -

a twolve%lined - $toºnsaj , although the rhyme ooheme -ie'l1alightlyL different fro* thwot T, he. Annanciation; itý"iis also=Ttortaod largely

trom toot rhys. s, '(*zce t th®Rninth line) "sad, again;; the a"rhymes

cr411nas of , 1sabic-tetraaeter, >the-b_rtaaes9 lines-of.,. iumbic -. f- _; }*a,,. a ---e. "'£ýý4 a+! i s-* Faýn, uy. dw ;ý.. ý"S d f+, ý

,P , p"'1 6- Wwp 5i^. y 'C' r. -. r:

twelve , 21 O1 ntanza ---often complete3tctr=eter

iss cöau o to xedlmvul Yersei3 often in religious pocma, including

poems- conc*rniz the Virgin Lary. Thus A Prryer of the Five Joye

1" ed" C*. BroWn; eF to e aßý FP!

r_ ýe Sx_ 'ý ̀ r __r

:

2. . 22U..

_ . L# 3, toss "ash Lyrics of the Thirteenth Centursºý ed. C. Brown,

fhe VI-fletnth ni,, e d. C. Broom, g2 g, cit., pp. 213-4, 273-7-

. C. Drown }n l tshZv iqe or Thirteenth Ce týýry, o eil, PD. 27-9*

365"

uses a twelvo lined stanza, though it Is completely of iambic

tetru o tar f the previously ientioned, Gabrl el ;e Oreet In t

4nr Tt ý, usss a -tve1vs . lined stanza, with varying matren.

The uarlan lascnt, FIliua Ito ,i Qrtuus Rst, l the pra ter to the

Bleaoct Virgin --`Ott all 12 I)IM. ctdus -patev_r 3eyt Werg j2 and the song, ! &y* rQ0,91 IX heart ýso IIIRI j3 all use

the twelve lined

at=za of tetraaeters`as-does Audelayls: bymn, Bails: be t'awrst

)'er ever 11 t 'ord. It should be, noted... too that, though his -

Ife s lut ioýi I elu Oakrie1 t uses n 'ten lined stanza, -ýn r+ rrr .r r+ý

its aetre- is that of our,. poem tetrameter aal trimeter. Thus -

alth s, h it iould,. be falso to euppos© -that k! enrrson ras., following

a rigid Sewe, - many other metres are-used for . similar poems;

and Dunbar, for, instanee, uses a similar motre, admittedly with

very different rh e scheme, in his humorous poem The Turnament5 -

we can asai: ae that our poet was following a widely known tradition.

Just as the=poet has drawn: -upon a common stock of thought

and verse term, so hie vocabulm7 can be traced in other

Annunciation-poems., ',, Thus str. Ss-OA 3 ary! e., mildness6. js oommoa, 'i ýi .` sý oeY 'ý ashysxr

1. . d. C. Brow ,

h ý'AF ten a'2

2. j, p PD" 3" lbith1ýp.

_. 7*. _ý_nti.. _. ý 4. . 4. ß"h1t1m[; wPo a! -4t : T.. nA dy, : Qp. ct o i. _PD"

155-9. 5" 6. Cfe I Ufaa n1R 3. t sr i eärt-esL 111ght'l. 4i 'c,

_ '. nß11,2 - "§

I- -- 7-7}" t- .. .. -x.

.>

:ý jý' -- rr3? rya. - ýC xs_tR ae k 'f` . -3 ,. it ..,

23 o IS w

ý0 O

oleo 01w,

ý. ý,,

366.

She is often referred to' ae a princess, '

an one who is without

poor 02 an a bloe©ca, 3 an one shone face In 'moist fair and ochone'

(62), Z one ehoia 'clene' (64)95

So tar we have examined the elements of fenryson' e poems

which are conventional in` character: We have already aeon one

aspect of the poem which 18 new, Uenryson has added the opening (conventionil in-itself of'course). °--This addition places the

pos: in a now perspective. ' 'In'=the paradox introduced by this

opening - 'lute f throuch quhome al bittir suet is' (2) - wo

see torc$h.: dovad the paradox (chaist with child) on which Aenryaon

bases a large pro rtion of bin poem structurally and thematically

cf. 11.10-11,15,17-18,10,43ý 48-9). 6 For

the airacli© ar ; ekle and reit, fra luftis IRynºer- Rynnis" , (3T-7):.

- Love caa'achie'e-another airacle

and"maw*ma" chiiat , _# Pra termigant that teyn is (67-8).

1. Ct. Dunbar's RO se most of v teer vir nn , em , cit" , iii. 2T2"3i 1... 211-1 a w, t.. a ,ai , '-ýt

v Orsels Ella-as ed. Co rows, u of h 92-... 4 .ý PD" 3- , . 1.3)'t.. _ýýudslay !a r gMer-God , 1.11.

2.4 TM Gt, � be"dey-vne-dellb äti u ;` ed: '-1T: Tod Ritchie TThe i, 102«3,1.. 12; 4 ts£.. 0. Li r ert wee 19'3; I Have now eet MYeart ISO 1.21.

Cf. Jtudalsr's Ralle: be 2'aýºr'st pe : luaýrýQod f, 1.5: ' Z. Cr. Audelay's Mee, ed. Whiting, Poe MO_a

d Q,, yý 9_5, `l. llj ° t' e o°' d f- 12 MW Our'llful " 37 8 and, 493

_ w'Dunbar, s

lat'of our '

., g. Cf. Dunbar 'H , 1.141 Dunbar, --le-L17; Qgt `all lbe'bý

6. The thorough working out of %tbs ; Implloatlons of -the paradox, 'v of. tha Virgin Birth. in this -way , is

, unparalleled ' 'in Annunciation

pos I, know and illustrates a degree of poetic skill far greater, than that ýtoun. t in 'moot ouch poems.

367.

, <; s fix) The Thre Deid Po111e

: ha warninZ given by a dead man to those living is not "wf y' p

unusual in zediss1-poetry. Thuat

poý art. now as I was inwardly Zygure Y was as you art suntjae be dayce olds.

Again:

Take beds un to wq tygure here abowne And se. bow

._ suaty"$ I wa s fre s echo and goy NO w . turasd,, to

_, wor aes , nets 4 and. _oorrupcoun 2 Bot, fowle: girth. and etynkyngfalyme and clay

Our poch states, siailarlyý, -'A" ye ar nor, into this warld we

salt' { 5ý + there". Is,, a preoccupation, too, with the physical

details of daran, (11s <--3-L4, a421, .

32#, 40) ,.. a-; pl'eoccupation shown

SM Lhe second e=ýap1e *bovo a. nd: in )Ruch other medieval litoruture. 3

We soo It Zora inetancs u is ß : eltonl s. j ßa !, o! W :: an' e let a poem

which, usea, as ouro# the eight or a doccycd ckull Be an example.

'Cis re: ub*r It # t" s In ,Ra ng 3etu x AAIMe eD Yowth, a

poesy in which . 1t: also, ser es as awarning eztmple. Thia_useF of

azsspls 1s1 a recurrant_. factor in, poems . of the period*- AIn, one ,.

wary we, alebt: look' on: many-, of the, - longer poems of. the period--

tor , _instance

He, iryson'a own TeettUent of Cresseid cnd Qrhgu

I, d u'iiloa or Chaucer'i Troi us end Cr ee dde -, ae emong' other

things3 sxte ded` eXAMpleat sn 7ou have seen, the poet eeeme' to `imply,

the fate of this person who acted wrongly; avoid, then, acting

32 SWE22 mad 1. . ed. I. BTUntier, f odes chte anilix clxvii (1935) r' 't

27-8, at. 12,11.14 2, ý, ed. ': K. Brunner, 'ý tlttelengliicheý' ý; T

9aj*dläý 300 11.1-Z ., t; 3. Ct. body'Ond , end. K. ' Brunner,

<'*it sag odeagod is , oD. Clt, , pD" 30-5" Ä 4.11001" ," Qcýtt.,? jp. 1?.. 18.4 .N,. _. .., ..

369.

wrongL, y yourself. In some cases* an in our poenf the very

cte'mple apuks. in warning. aroeaeid herself a yo:

0 IA%dyis fair of Troy and Urewer attend ity micerie ...

.., Be war in tyme, epproohie neir the and, And in your sind one mirrour uak of to (452-6)

In other cases the poet himself point© out the warning exezplified

in his storys co Chaucer,

Cvich fyn bathe log this Troilus for love: Such i-yn bath al his -grete wortbyneese! ... (V 1828-9)

... Lo bore, of pcyeaa corsed olde rites Lo here, what alle hire goddos may availle; 1. o=here, thice wrecched vorldes appotitec; ... (V 1849-52) aY. The poet has not merely stated a lecson; he has cro= it in

action - an exaaple " from real life,, a . forceful example, has been

given. In Thy re Deed P2lie, thong Henrycon has used a very

cormon devices his cx ple from 'life' esphuaizes his didactic

point. l ., "_

The skulls warn that all will die and become as they have

come (9). The insistence that all will die recurs frequently

in diaval poetryf2 all bccomeu earth (40). 3 The very categories

of people referred to by the poet are those of traditions so

1. Ct. also moseavers of Teetb, ed. E. J. Vurnivall, Wi 7a the 'Ve non Mu uc i PA, Q, lit 443-8v 11 -04-a+- Q24JA jj no .y"fe,. C.

- Brown, -, R@11jz12jgjZrjjs no? Fifteenth ,. cit.,. pp"

'116'. ..

vyZ

2. Cf. ', for ezsaple,, Ryman's 0eld th- a 11 t cri. J.. Zupitza; " 'Die Gedichte des : ranz lcancra Jakob Rym 9 lftqlkný vß! PP* 265-7, at. 5s 11.1-21 0 '12 P. 1 eIa

-PON at. It 11.1-13; Of na of , sa. _-

g

JLI* ; 1hinbars f an _for

i ^: v ,º, lip 13-20; '. Dunbar tI Ove -0

I RQQA n? ae-RtIls ode Fe W ren -0-16-e ah. SIT 1931)

U. . (references are to US. Ellesacre -26/A. 13); '

'211th s "'i t -ý , ed. C. Brown, Finglish

1 92.211.0, Pp. 15-ILS 1* 16; *0 mahl ^

#9. cri. ºý. Tod Ritchie, Lz ýºnv a

pp. 5,11.36-42. .. F« _: 3. The- expression has Biblical on ins. Cf. for a literary

ýýQý ýj " parallel, the zany versions of the poop ho n U. L'. R. Uurr (E. Z. T. 8.0. C. 141,1911)"

359.

'psuro r4 riche, eil be but dlttprenoa' (39) is Common

c3 asoiricatioa. I Were (38-9)s 2 the-beautiful (stanza 4), 3

the wise (45-6)4 the old ©rd young (stanza$ 3 end 7)5 ell figure

proainently is this We of poetry, Pride thoretore is ro11Y. 6

The stansas, referring to youth and beauty particularly will

repay a close exa. zi33ation, not merely because they give good

exaaples of the suthorts technique but also because they show

further pa rallels with°contesporary. literature. 3o

0 wentona youth, ale treaoho as lusty rºay, rarest of Clorris, renewit quhrt and raid Beheld our haidioi 0 lusty gallandis gay, Cull laichly thus null ly thy lusty hold holkit and how, CM walloiit an the weld, try

. crc=pandk hairs cri elk , thy crictcll ; cne

full cairtully conolud Ball dulctull deid= (17-23)

, he artistic tcchn. iquca aril phraoeoloryr are very reminiscent of

those in Biurysonfn longerpoo*ai , the, usp'. Qf g4jeotiyaa to

convey attitude through intensification ('lusty' in used three

tines, for inatcnco and there cro airs 'g y' ,ir cccho' , 'wantone') j

the inteneitying- adYerb$ feW in line 22 4n -1tull! In lines 20

and 23; c. nd, above : ell, the e*phasis. given .. by alliteration:

i !bihnr x- 3 -u i- i`:

o #: fÄet . r. 'a

1. C: "Byýnt cet, at"1,1e 4; 0ß, Q al whilk tally me , ýst" , 11" -1.31, -Of ..

kr2

2i `Cf" Of 1114 11.10-111

. "P"lemon t

3"

1.

5"

6.

(btanoAestsrý Cr. A diRat

C. 1"

rdo) V%

x9 ; jet.

4r 1961-1126. olo' n beteic t

U. .

139--40/ Tbg -T)Tnce of De t)i,

od. I. 0011uncz, iar -English -Poona , 2, }London,

1., L . ernan. ed. A. C. CaY1e

oily cu ,1o_a, et. 23-53 1$ 2r, HREAPILIXI _______ ID. sit. P 92" 95-7i 11.31-2" Ct. a kZ 32 1 92022 and ;, 4t. 'ä51

}a`, 0" iirown, ý few "s tin. .c

2419's f

1.9-12. rigs 2 et 11 10! tris ° t3 t. 1 1; ;2 Zk Cf" 0 mill g 2a

e tlgv rs of (teeth, 1.20J 'ßh4 nnnao e' T)nnt , 1.8.

CZ. All to Lont on i)enthp od. P, J. Purnivall, P& 3 (...?. i. ß. 0, S. 15,1866), PP" ' 9-5C

t jn infl or tent p cd. P. J. Furnivall, 1t4 d% a P. gll rlowin nn1 1 vc roeng, cc, ei t,, p. 2531 At Qflf on 'ortalltY.

370"

the It for tnstunce, linking 'lusty', 'gallzndis'i 'lalebly',

11719 11astY1 (11.. . 19-20)p the stress on 'duletull deid' (23).

Tb* stanza' too gives vez' Interesting points of comparison in

troaabular. y wad flats In these.

4th Týh , Ds. 40 1 22414

Wo compare with a passage from

Petro to 3e that be Jentel / eo fresahe und : serous the c erous Of 3eres 3ongo / tloaring in goura arena age Squ are I. usti fro of ? garte /a and eke deeyrous

Yul or deuyoes / and chaungo yn orrrc corago . Plesaunt of Porte. / of loko and

tors visage

But al ahal turn / in to aoshea dodo (433-3)

Wo see a eiailnrity of vocabulary ('frosaha' ,' 3ongo' , 'luoti' )

and a ci=ilarity of notaphor - the t'1oioring of youth' - giving

rise to a siz12crit7-oS these. Chaucer'a lima in jz 11u

Crlqesdt, abou14 s1ß3 be reh®recit

0 yor ei frees e lolls®s, he or +, In which that love up growuth with youro ago, Re rotte hOa fro worldly vanyte; ... (v 1635.7)

TIW following otaaza of üsnr7eon'e poet in equally interestinnt

11 0 Isdeis q yt in claithis corruscant poloist with perle, end mony pretius atane with-palpis qubyrt, aid hale (so) elegant 6irrulit with told and euphoric moat cue; Your tinyearis a: all gth7t as quhailia banal arrsyit with ring e, arid on rubeis reidt as ýro_27 th, 4s, so sa11 ye ly ilk ane,

s with peilst pollia and holkit thus your held (25-32)

SizIlarrtechaiquou aru thus uoe4z repotition of important

adjecvivis = r4vcrbs ('qubyt', 'moray' are both uriod three tiaeo

in the stanss), alliterative omDhaaia (the otr ßa on tho previous

2. he Biblical origins or thin dote; laarº Ito constants oocurrvnoe In r edir val poetry and tho, silatticanco of Y�1 Z;

colours 'qutjt and read' (18) havo boar discussod whin doalin, a with ä, }, o v f- '"' º, yF < 128--30 M, -,. The Psssalln »etytý Atº ; )P* 3t4+' 5, Y.

--- II

371.

©tonen in lines 26 and 30 for laitanoe); the poet uueo balance

too Cas sa ... so call rot, 30) to ezphaa1 ze his thaw. The

Young Man in The 2ar1e : ant of the Türe Ages was olmilar1 docked

a4t in precious atones (including gold, rubies a capphirea). 1

All will die t nt this world is a 'mrtall se'" The eia

is a co oa oy bo1 for the world, its vagaries and Ito sins, in

medtzyal poetry and eermon material. üenryaon ucoo it himaolt

in TThe 'ov n rr4 t!, Prd o (11.79.85) cnd I have chocn its

conventional nature in zt analyeis of that pocz. 2

1othliig olc, a is sensiblo but to

Pall on thy knie; ack err-CO at a: gelt, with oritionio, and haly ®a1res await, (52-3)

The poem ends with an cxh rtation that the hearcro pray to Christ

that, through lila blood, the 'thre dead polllo' (cM, by iiiplicction,

the hatrera thanaclvac for they will die too) n 'cq loif aM

ring ... be oternitia'. Lino 61 in the UaitlcM Folio Text3

makes the implication explicit, 'Throw your prcyar that we and

ye maj Regime. Of courGe nlmilar endinge were very frequent

in Pocae warning of d©ath. 4

1. od. )i. Y" oftordp OP. Site" il. 122-9. 2. Pp. t70-1.

Where aeena to be little to choose botaeon either text; certainly some of the Uaitlcuxi Folio lines scan more catiaFaatcr. T than those in the Bcnnatyne text - ct" 11" Z45# 48.52,59 - but 1.2 reeds more satisfactorily in I3annatyne and the alliterutiTe pattern of 1.22 to ., * cr) is not

---found- In-Maitl*xd.

+ýýý, "., F1 ge1ý ýýLieciarec . - 4. Ct, ..

I bet *lun sn Dec XV1 . orte, ccondor a nuo der zit Heinriche VIII , 1ßn x%vi (1903), 193, et. 81 $kolton, Unarn Len's ! Leids 0 erooll_dAth revnftill rnd r -or te9 at* .

372.

, We 2u ve,, already ux"Ined the author'© rhetorical technique.

iie uses the 1ionk'a Tale stanza vhich# co ire have already noted,

was a very capon tors for didactic poems in the fifteenth

century. It will be sufficient to note then, that the translator

of the D! r}ce of necth also uses this fora no does iydgate in his

: 1-n? rortia Conturbmt r$. 1

.. ýý. ýu

fa of .s ¢i..

'' , v+. f

"m if

IzAgalgo, 2u. 21%. Ile 820-32-

373"

(XI) The Roa3oning betuix D©th end Ußu

tinny of the details of Zhe Roeeoninn betuix I)th and fn   rr ýý .ur  rr

have been dealt with in discucein, g The Ihre, D©id . U1111 end it

will not be nacsssar, / to repent that dlocucoioni we have coon

before the coffin occurrence of the throat that all =at die

(eteaca 3)1 indeed, rear of the categories in this pooh are

thoce icolctct in our study of The Thre D21d P2111oi the 'freccho',

the fair, the young and the old, the rich and the poor* tie have

coon elsewhere too the advice to repent (l. 33) and pooaa ending

with a prayer to Jesus to have mercy on dooncdcy. The form of

the poeu, too# has been largely dealt with before in the discussion

of the debate Zorn in he ®on ni c* ®tu . AIM md Yet each

contestant speaks in alternate stanzas; stanzas are of the

Lonk'a Talc fora. We should notes however# that there is a

conclusion to the debate$ Death persuades lion to accept his

decrees and advice, as the body accepts the decrees and advice

of the ors in A 4icrmtnc12un baj=& ke bo�dydv: nd- , re ;l or an

the blackbird, accepts the nightingale'© correction in Dulan ar'o

! ry ac that Ae rs did njjsering. 2

Uoirevsr, q, there are several, points which need separate comment,

The device of having Death speak directly to Ilan - another

dran tiZ$tlon of the didooüiowtheme,: the like., or which we have

alrscAidiscussed, in The Res, nibP bgtutx AlregM Yo and

1. ed. ' Xi Brunner, '3Uttelenglische Todesgediohte', Qjý, z�cit1,

2. Poeme 22, cit.., lit 174-81 1.97 especially should, be no tea*

374.

Thehre De l li - Is "

ery common' und often

Sivas rise to

a forrº of debate, as, for instance, in Fv and The Dance

Of Rt . Death's speeches to man in our poem contain several

trt4itionsl phrases and concepts. Death advises nan to make

a r1rror of hint this vcr7 advice can be paralleled eleewboro. 2

This concept is closely connected with that of example, discussed

earlier; the passage quoted from the Testament of Cre: reid when

dealing with i, e Thre DeidPo1lie is but one of many examples of

this fisure. 3 Death twice threatens 'paip, empriourp king'

(lines Zt 1A), a phrase that had become a common-place-in

this type of poetr7.4 And the throat of 'edderia, aakis, -aM

Worsls'. (38) is of course part of the tradition. 5

Uan'e replica to Death can also be paralleled. He aalen

Death who he is. Similarly Evorynnn says to Dethe '1 t 'io

the not what nasoengor arte thou' (114). Uan complains that he

thought youth would remain with him forever, that he has spent

his time fulfilling his sinful desires, satisfying his prides

Cr, c, ad. K. Brunner, 'Uittelcnglicche TodceEcaaichLc . Q�i, p. 21 = 11.1-48 I3ot gQeýýlýiLýStý

o aýrre w lCh a no , oi. K. J runner, o

bittet©nglioc oýtodoaKot chta . wr

! p. 22; de rind p cam. . zupitza, 'Die Ged1chle ace runt kaner® Jakob k rmcn', ()22 cit., pp, 265-7" et. 5 and 7

2. Cr. rYLe, cd. C. Brown.

, ju Q c; n, p. 241. -lag

3. at. alo Then uo of rasch, ed. t7arren, atoij. 111.31-2 and 49 rt..

4. Cr. G, ed. F. J. FurniYallj nor, na ', oD. oi tom, lit 443-8,11 139-40;

. 9- j am, ed. Cawley, or, p t. it,

5. Cr. s ?!. ode v _a

"Mir g# ed. K. Brunner, '1 itte1ongliache Todesse c Ito 99iir p" 30.1.3; ? d1=14otou4

375"

This c4. -iocloa lo the very co=plaint made by the Old Uan in

both l hg Pn lc ent of he TL A &2n w4 ticnryaon'e Ren nim

D1131 5 iro. and Yostth. Once again we are given a living

illustration of a dldaotlo points Man's pride Is illuctratod

by his words in stanza 2 anyone who attacks hin will be

czuao3 to 'bow to me on foras' (16).

In considering those two poems on dcnth we should remember,

than, that they are part of n long tradition of euch poems.

It is helpful, I be11eve# to consider than and their like as

just one type of the vcrf largo number of poems of the period

condo :. ling the folly of thin transitory Zprld cad its paooin, g

poecocaloae.

a

e,

a

a

376"

(xli) Again ! ality credence of Titiariw

Annie I 1nty Credc, nte of Titiarie complaino of contemporary

conditions ('not', 1.1), l yet the very complaints voiced come

fron a co=on stock of complaint poetry.

7aletslling In condemned by Biblical writers2 to whom the

tongue is a dangerous enc y. 3 The theme is continued in sermon

matcr1al64 And there is a fairly. considerable group, of poems

c4vieiag. reticance, or: at leant wisdom. In epoach to evoid, th®

evil-consequences of flattery, of , scandal, of Laletelling- and of

rash speech. A. representative ., stanza nay be quotod:

Certc1n- thye. ra a wondere thyng: Be a tale nevere co fa1© Ueny sen haue grata lek7ng To tell it Zorth, and ache 1t-alel'' end. be it told* one or twjse Hyt-vol belong or Lt-donne. Lall, Thar*-tor. Y . reäe.. be wore and, woe 5,. . Rrd b3 rep and' ae, atxi, eey w not , ell

-Cf. i' diaouäston of "the poeafblö ürelätionehip betseefl thin

type of complaint and political conditions in Scotland in tho° early' 1480' 8, PP* 185-9.

2. Cf. Leviticva"xix, 161; j'roYerba xi,:, 13, Fxviii, 6-8, mac, 199 cri, 22. s 4pj :a,

3. Cf., Psalz=liivis (vg. °119 6), +cxx, r273 (Vg. cxix, 2-3)1 Proverbe'xrii, ;° Jcaes till

4. Cf. O. R. Owat, L era ua1 it In Mediasvnl. Rn la ,

8, to 4zowe Agý oo 'r

des= ed" He 3T 0ar`Mdlson, Cimneo

_c 1to, ppa 121-3. or. also ,, oo

Include refrains In brackets where appropriate) three, ti lidgatelpoets& baür

oFt Istells lorne n-m, the e

C. ýB rows " Rellirlogs Lyrics , oR. c. 1. t. 4 nr nru ms%y (And o cuor more pß�: 191-3j wren of 2g !2V( 92 'ps

to-"Ye , pe . beet " *a. .. `urn vu , no r " "µ-11i723-5; , two carpe ha, -1 U6119 r

t i- nco Ode K. L. Oreone" ýgw "Ft tune thi n -ot The r. n r. n Onrolg v orU" 193., ))# pp* 232" 2335 Think + "i thncn ('"ha to euer thor Bey A-vyco the W81101 apt.

C. Hrowrn" rn rous ;, glen of The Fifteenth Century-9 O P# of . (Continuos overieur)

377"

Several poems confine thdnoelvc© to conde: ninC the wickedness

of the tcngue, as do lines 14-3 of our poem. Thuo a carol1

begingt

Off a1 the en=r® that I cen fynd The tong is most en to nankynd

Others (cte line 44 of our poem) threaten the pains of hall

to wicked tonguen. 2

Still ror© akin to our poem are those odviaing against

crodulity. P. 71. Thonnon pointed out to Gregory C ith3 similarities

"g_ betieen our pc= and two of Lydgate. In the Churl and the i3iýd

the bird, is return for her release, gives the churl three pieces

of advice, the first of which is

Piff nut of wisdai to as ceder c To euery tale, nor to ache tidyng,

But considre of reson and prudence Kong nah talcs is many grett logyngj Ilasty credence hatte caueid gret hyndryng,

Report or talcs, and tydynges brought vp now Ilaklth many a . an to be hold vntrewe. (197-203)

The bird tests the churl and, discovering he has forgotten the

advico# cosplainat

Tcuht I the nat this wisdam in sentences To euery tale brouht to the of narre,

flat hmct2 youe thor-to credence, Into rMe thou k nowe -t is it were trowel (301-4)

pp. 264-2= All Ta' (Ewyre any vyll®, or hold the sty , oa. J* O* a wo , rnriy 'n lieh N i___ 1e3, OD. igI t.. " pp" 62-5.

1. cd. R. L. Greene, :A Fag En lioh C1, op , p. 233. Cf. a1ao Skelton, Ai; nlngl Veng W uýº ,, 22, p cit. , pp. I. 2.08-42o

2. Cf. ta, 7 ed. C. Brom, Poll u" ceoueenu, opt' cit., pp. 205-8.

30 !2RQ. citts it 1=ii n.. 4. The Minor P emi of John I dizate, O'D, cit., ii,. 468-85.

37041

Thonson! s other reterenco ie even core intorecting. Iydgate'o

Fall or Prlfl ä nook I Chapter 8 tells the otory of` Thesous

whoce g eatest. aorrow was that he scarf credence$ (4485) to h1©

"ito. Ror. 3or$ are cdviseds

Tor be Ito] Matt talis for to loeue Off f later©r© in chuuabre nor at table; Forgers of lecyngio, seyn auctour loth, weal" preeue, Tabide with lordis that that be nat able ...

..: That, pryncis sholda ex zyne sch part!., Off visdsn also and off discrocioun Vithoute a proof nat be parciallf

11 1495-4503)

Princää raunt not be hasty of dud : ant nor

L. ue no talia nor yiue no credence, Till that the parti may come to audience "".

so* haell rrI At ouaeuääis mI

dar ore pareiloua; "so

For haste ful offte, for lokkyng off reaoun, OPf : moche pceple hath be deatruccioun (1 4584-92)

A prince ought to examine well before he delivers judgment

For there is noon mor droed2ul pestilence Than Xe a tunge that can tlatre and fege (I 4621-2)

The firmt line of theme two is very similar to 11no 29 of our poem*

The ccuee of much trouble

Been those 11cres with thor tungee double, Thsmsilft atforcyng ay trouthe to oppr©sse; With whom flatrie is

,a cheeff maistrease: And, aorot of all, to ther dreedful sentence, Is wh n pryacia been hasti off, t cred once. . Hastj red enc is roote off all orrour ...

;.,.... ßla1 conaiudyng with full gret disauall ... ... To al that truate az4 haue in hir plesaunce (I 14805-16)

Ia 1.30 of our poem it is the ground of strife for a lord-'to half

. _, pleaaunce' in fiatterera. There is nothing so evil, '

Aa chaung off pryncis to yiuo iugeaent Or acs i creence, withouto auiccn©nt (I 4822-3)

1. cd. He Bergen, 4 volo. (E. E. T. C. E. ß. 121-4,1924-7)*

379"

The envoy ands with a plea

Pryucis, Pr ncesais, off noble and hih parago ° which ha[uej lordohipe and dor. ýynacioun Voids be. aside that can tlatre and Page; Fro tungos that haue a tarage off troaoun, Stoppith your eras fron ther bittir noun; Beth circusspoot, nat na 1 but prudent. And yiueth no credence vithoute auieaaent (1-4838-44)

The resenblaaces to our poes are indeed-very close, In theme cn3

vocabulary. -Zydgst"1e work could be the source, though no ,

final proof could-bo offered for such an assumption. Elsewhere

Lydgats echoe8 the advicet , CO leree welle with eusrie oircymstancatl

ttost noble princes, cherieaheris of vertu ... Chmatiseth the reuera, and of wisdome doth this, Voldeth 3owre horyng from al that coy Eº-nyo (127-53)

In a poem frog Oxford U8. Digby 102,2 we find the same thamet

Oloseree rakon cony loeynges Al to Gone men he= leue -

Boys to lordys and to kn rngea, at bo)e partye otte greueo oldo ordia cocho repreue,

Olosero ehuld not go so gcy (73-7)

Dunbar likewise WAscß nights

... fra all tnla tunglu tultild with flattry, Als tra all cchrewie, or ellia thow art enchanit; Sic art thow callit as is th c pany: Flo perrellue taillis foundit of invy;

12 , D_, l1 it Court M Frein33 (26-9)

In Heniyson"o tables there are also similar paeaaceos Thou, }

und the Paddock 11.135-49, and The Fox and the COON 11.204-10.

The : inor- Poo-pis JQ 1advatep 22er ýtA-, 11,839-x" 1. ý .. ß. ý

., ý .. 2: J, ` Kä11, ! IX

E21111AIL-2r= 2142C  s R-E. E. T. 8: 0. £3.124,1904)v 14-222.

3" f_. ý 9zi,: 1i , 98-9.

3800,

Two further points need to be made concerning the thene"

Firstly. thio poem belong* to a group addressing lordo, or princeß,

or the king (often employing the apostrophe) and giving advice. l

Secondly, the poem and its like are part of a very large number

of po=s decrying contemporary conditions, a clues that will be

discussed in appendix B when dealing with The 7nnt of W ae Mene

We end this study of iiearyson's shorter poems then where

we began it, stressing the fact that without a thorough

understanding of the zenres within which they were written we

mies their very nature and prurposc.

1. Cfe also, for instance, Chaucer'a n-k Qf ttedtestnesc j Hych

-as the nee In. as, oQ. F. J. skeno,

LI'De. - r u. nae, or, citi. " pp. 392' "

'381.

Appcr diX A

In thin brief _appqndtx, I Trlßh zorely to hint at a method of

apprcc to'T': c cet cnt of Grenzeid and OrMhouu rand! uryc1ice

tthich y proud of , ya1 o. Dr, S. J. .t arthl has alrenc under-

taken for tho: c.; oc« t tho type or I. -tjtearcn -a hunt ttirou n.,

p vloun tc , Air; a a: 4 z°olated stories to firs. ju:; t what,. iß

tra;. itic l, ar. d. b at, iletur aon hay a d, or ciar. ei -' sic in Vi

t2ýl.. r tsxa ýoen_pxoved to #e or value in our atudy.. or,, the, , a&111iß.

But cc han not°ur4crtaisoa in any detail study of . tre r-orc, formal

material of the po : na.

In The Testare. }t of Crer' mid there are four pointa to which

Z should like to dra tter, tion. 'iraLly, the }öpanin4,;.

! fens-yeon, as is normmal in n Poe= dc rklini7 with rorturc, with trust

in worldly plcasurca, beEan hia goes: with a cprinZ opening, (in

niddia of Lent, 5); but he has used the convention creatively:

this, Xe not the nor il prix., Vhen all cci lovely, but a sour aw

. .. r ,"

upr it when the thin. ;a of this world i hhow the aelvca in true

,r ectlvo - t*c r ºrrat r Is old, Crcaacid has contracted

pý uiealg c: i ýýße t*ýzcu 2ýýurr. Lurul. xt=fZ'cction, oplrituA1, itozoe

t .z uZt1, tt ,t IF . r?: e

xttý; a of', t: itc. rrprld, k. 'rovlcdLv of the normal

unw of -convention and °t'c countcrpoirrt which' Uicruj eon$1ays on

4t contriLutc, to., our, "der"-tai-4 1. ; of taxe pocr.. : 3ccozu. ly, $the

role of : t: o narrator* Hicz. rycont a -narrator °it very` ninilar` toh that

I. Convention nr 1 Crrntion in the Poetry of rrobert Itcnryson. U Cite

382.

In Chaucer's Troilus and Criticºdt, not fully undcratandint tho sit-

uation Into rhlah tho central characters have browiht t}ic: naelveo,

cu athinizz pith thou, ecboiz their blindness to their oun true

raturo in his own blindness to their nature and to his orn.

Thirdly, the 'extaziot. itacrobius explains:

tºhe patient experiences in dreams vexation* oiailar to those that disturb hin during the dryy. An exnuplee of the mental variety, wo night aantion the lover who drea^o of pooacasiri hie sweetheart or of loaix her, or the ran who fears the plots or might of an erc: y and is confronted with hin in hin drean or see=s to be fleeing him ... Anxiety about the future would cause a can to dream that he is CaiL i a prominent position or office or that ho is beiz,, deprived of it as he fcared. 2

Tho 'gods' arc projcctiona or Craaaoid'a own izuLasnation and roars, just no tho rarr 1tor'a drca in

, ha took of the Duch©ra is a

projection of c". at he ma been rcaaiz& and of hin personal life*

I. cpro was thoujht of an a typo or ycrcrcal diocaoe3 and Crco3cid' a

fears after her life of wantonness (fla ClSotlikot takand tbv toull

plenanco, 83) are projected on to the dodo, on to Fortune (Venus

in a fortune figure in the poca [221-3$] as in The xirrie +2uair. 4)

2. sa on h D- as ffip tr. V. H. Ctu. 'zl, nc, uI0 cri. iii, PP* 66-9.

3. Cr John of t}ae'. dcadcn, Fos 1i ractl2a medicine a . amte Ld i od¢a (Vonico, l51 , tol 9; W. C. Gurrt, c: t a cmr rir. ct the 1`eºdiacval t clencc, c t., pp. 37 tZ'.

4, c Croat,,. r atun: as 160-11 of 015o U. R. Patch, ' )&te38 Fortuna p Uediaevnl T4teratu (Cwbriaco, I: aaa., 92 s PP" "

s, ý ý. -

383.

'br croa it ia, 11 Troilr�c in Chauc r'ß Po= (N, 9$Ci't. ) hau, in

trwtif this vo i 1, bCco: o a d3tor.: lniot, canzaot cco that tier

to or liar man creation - at lca t, oh t oea not rouli:: o

thin u^. t11 .u crco ^ztcr with : roiiuo (ct 1.57Zi): t yocn lo a

ate of hs Crot'.. h of cý: lt» ro-algd o. An four h1 , tho laocnL

f1201.06 f. ). T 'ho fo= ro s: x cxuctl7 the c= charaot.: rioticu

no othars in Hrmr, lconr "Or i=ts o that in Tho I Ts U the )'ouz

(U. 210'21) tto; cnfi ; -phrase '=aid her nono* (406); the

hcz77 u111te ttYe rattern (inC-ccd the allitcrattvo rrcqucncy

thron� haut the whole poen its rather h1rh a nI could repays cloec

atui'); the ; t`bi n=t notif; the e rcc ion or hopclcasncno at

Fort=o' a attach - for th3 coplsintß are r-acio b ;r dotcrminiot0,

ttxoce v! io vo blir41 put their trust in the thin o of thin

rorlds this ciz be ccCII by the vorl nature of the, coo21ain, t

Crcaooid oaco3; he c ovs" notr cowplaln bCCauC0, cha has loot Troilus

but bccauzc 5h5 has 103t thouc worldly plcauurco which worn her

tm:. o loirc5.

=ho-w% Seri ; 'ur! dtc' can bo oiEilcrly approached. It has

t: xoo p6iflt3' ör intcrcßt for U. 71rst1 , tlic wa or tho- I: q

rorn, lr. Crotit (ii. 8G--96), with protuconiat wanderirr into -"the

tlcltiß 'to 680 the tiourlo opriI . 3x=cdiate1 r intorra thoso or

iic-1 yzon! o rcadcra/licarcrs u:: o rcco, nisc tho z or a1 function of

5. This is rot tc place to co=ant in detail on- the chanj; c& role or ': roilt: a-tron chauccr'a roch'-hero his lovoý is,

: rc, reblei , praised *- . cith he aUc oriccl_ovartorcä in %i: µpccnj the v1 r, Cc icplicat A Christ £it,; urc"3

of Ott* pstrta intalletrta "�s aoperat rra Gon8ua1itCS 1iko 01 hcus?

b4 o

this Porn In =e&taova1 poetry of the nature of her pleasures

(QItWlo to tho tloscho it Gattin the appotyto, 434)6, Secondly,

tzo co. --plaint torfl Is used, with characteristics u© noted when

dealing with The Testa=ent of Crossoidt 'till his harp thuss r r. iiý

gait (he) u31d his cone' (133)7; we Scat he was perhaps to aono

extent to b1' r or Euzydice's downfall (ho too cxperienced

'wardly ley' I5, - later he was to lose Eurydice again throe h

'Gitfand consent and dolectatioun, /off tlaachly lust' 622-3).

7hirdly thcro is tho ascent to heaven and deccant through the

cphcrec - the device had been ucod sowcvhat dirCcrontly in Chaucorto

IToua of 'Fare and to end his Zrollus and Criseydo, there# as in

Uonrryaon, rccalliz Cicero's Drca or Gcipio and gacrobiust

cor- nta yz He (1 rtha, Eorus) says that the reason why milk is the f1r3t nourish cnt offered to the new born infant in that the first movement of souls clipping into earthly bodies in fron the 3Lilky ray. Now you Beer toot why Soipio, when the Uilky stay had bean shorn to hira, was told that the souls of the blessed Proceed-from rero , ßnä rat=

Zthe 0

6. Eusydico In a 'lady ying' (96) like the princess in Tho fludy o-*rk. I ; avo in my anal. Yaia of that poem (pp. ) roaaono

t row y belief that Uenryoon'a otreBa on the princcna' youth inpliod a condo; nation of her ir=aturity -a similar cor erns tion in pcrizapa implied hero.

?. llcnr;, yaon places treat atrcas on Orphoust harp - the stress appears to be his, not irivat'a. The emphasis is perhaps explained by ncdiaeval Biblical comcntary in which phrases like the tollowir ; area nucoroua s' cithara vorn, quell ab in, fcriori sonst, tribulations at infirmitateu noatraa in corpora Christi exhibitaa sic niricat, '. (IIedo, concntinn on Faalm lvit3 [Vg. '3, In PBalzoM T4bzup

. 40gonl. 2, P. L. xciii, col* 782)1 'Coutitobor tibi, inquarl, 2 Dcu5 in vanin )2Sn) , O r^v11ai tatbi In cithnrn, it cat, in caictia oporibun ad carnia iortir aationca pertincntibusp s (ßedo, co entin ; on Paal. n 3xxit22t11Cj,, In Pr alr; ozuia I"ibrum nS&cal-n R; M.., coi. 8 Ct also Z acrobius' discussion or the value or LLuaic in gcnuz Ccm MtnrI- 2 he, T)re-un of ̂ cinio, tr. W. Ii. Stahl, o olt. t I1, ch. ili, p. 195.

So5"

(Z1) So long as the souls heading downwards still remain in Cancer they are considered in the conpany of the loan, since in that position they have not yet left the Milky Way. But when in their descent they have reached Leo, 8 they enter upon the timt stages of their future condition

(13) By the impulse of the first weight, the soul, having started on its downward course from the intersection of the zodiac and the Ltilky Way to the successive spheres lyiz; g beneath, as it passes through these spheres, not only takes on the afore-mentioned envelopment in each sphere by approaching a luminous boL, y, but also acquires each of the attributes which it will exercise later ... in the lunazt sphere (it obtains) the function of molding and increasing bodice, Ph_ytikon. (15) This last function, being the farthest removed from the godo, is the first, in us and all the earthly creation; inasmuch as our body represents the dregs of what is divine, it is there- fore the first substance of the creature. (16). The difference between terroatial and supernal bodies (I am cpeakinZ of the sky and stars and the other components) lies in this, that the latter have boon summoned upwards to the abode of the soul and have gained immortality by the very nature of that region and by copying the per- fection of their high estate; but to our terreatial bodies the soul is drawn dounuarda, and here it is believed to be dead while it is shut up in a perishable region and the abode of nor tality. 9

AlthouLh what I have suggested in uorely a hint - auch more

could be learnt fron a detailed study - one cannot, of couree,

exhaust the meaning of the poem in this way. But an understanding

of the forns Henry8on uses, and tho counterpoint he plays on these

forms, does help towards a fuller appreciation of the poems.

8. Co=entAIX on the Dream of Soirio, tr. We ii. Stahl, on"cit. . B" . I; , ch, xi i, 134

9, ibid., pp. 136-7. Uacrobiuo is also helpful in analysing for us the nature and the occasion (the punishments occur row, in "thin world, as troll as in the' next) of ytho"Hufforinte in halls

. I, ch. x, pp. 128-9. Cf also. -Ion this cub jcct, ' Walter i: ap, De 2. ig CurinliUL, tr. I!. R. ý Janes (Cymnrodczion 1 ecord- berica IX, London, 1923), pp"4-5"

386.

APZ ZTX B: %l o rant of yarn Uen

11 I havo alrcaQv stated t21. at I thin: to ro can be no caco r. c o

for aocribir this pocz to ficrs-icon. It in of conoiderablo interest

ho'cvcr for it uau3p in rathcr crude for i pcrhapa, ccvcral of ttio

topoi anti fora (particularly tho laudator tc. nporin acta) which

! ex rjacn uzca in a =ore ca3hi3ticatoa rannor.

ho poch its a rcMordir of traditional conccptc* a criticirn

of t. '11o tines. tute society was not always evil-6 Pomerly, there

was a Golc: en 4o (a , ton: a 2). Chaucar, too, writes of much-an cCo

cn t are tae poaco ar4 tru3t, in h ar U,:

Untorrc2 was the hnubor:. - and the plate; ... No p17(1o # non CnVJC t roll uvtrvco Ito lord, no tcyla,; o by no tyranriyo;

o. 4 in "'t: of nt ýfýatncrý t

Soto the world wau co otcdfaot and otablo That r.. zin: ca torsi Uuo oblivacioun.

17ho rctcrcrco - allc"orical in our poch (1-12) 2 in to tho cinleoa,

ari tncczeroro p;; t stato in the Carden of E tcn. But now the

world la evil l, turrcci upaidc dove (2-3). This i© of zrcvcraaL.

in can«vcrticui1.3

The atito of the world now lo constantly compared, eithor

cxplicit2y or iiplicit7,; i, with what it had been in t1. at idc6i `pcot.

: ha tc=-poral contrast to acccntuatcd by the use of the a : vcrb "row"

ill. 5: 7,1L , 15: 21,33,49,52)" In 1tro 52 anothcr_rcau3-or. "roin--!:,. '.

1. cl, ci o On ^hn ^i n, 1333, cd. To iricht, . o1 ii rrý1 ? '`r ±-s - r"

oo. cit., i 270-8 11.3-6; and c� t t'orr tfon o ho , s, u ., cýt4_t , Gr . ýl ", " " Ir-c' wem. r

11rwýý+. n.. ý. ý r.. +ý.. r

235- ,. 1.11

2. for. c==p1. u and diccuacicn or the chriatiani : ink� ° or pr ; cn r , nth sec i.. 1, 'u ,U02t ir^nnd o (I: York, 1959). Y, 2069 tt.

3. c: ChaUccr, Lf or `'gtoldtnntncna, 11 5--6; On the Corruptions of (9-e e Over)

387.

rorcirc the ccnparicon Its uced: a vice, or a virtuc, Lave bcco: o

Its o ocito (cf al:. o 11.51,59). Mazy vorba, too, otrnau the

cz: aýos vorthin (6), cxildo (33), barwot (38), ri (45),

lorno (46), trr. c bit (57). similarly the use of lawayt (b37).

OViar poc»3 uVa trio CV. co : pr4ricon, and the cazo ncnns or con-

ICirons for in3tarco, Chauccr'c 7. Z: ot- tedrnntr; eoncs,

And r. ort it in so tab and dcceivabla ... 3) ., 0 for con, u3 L. pw a an Is roldo unable, 10)

Vertu lath now no tontraciounx (16) Fro right tv wrozc, fro troutho to fikclnooao. (20)

The cxpres3iona 'put doom : Icxyled' chow the cane purpocc. "

Chauccro whole 1d7llic picture in The Forr. -e£,, fro to an implied

contract with the prcri nt a&oi a coWpacsion inplicd by the use

of 'yet' and tho u3c of the nc-ativa throughout, thus atrccairna

that the evil* pro-cat roe cro , hcn, °abccut.

A non- Chauc t-rian .: plc 13 provided by ; Vho following lines:

s Lotto 1® toux'od, to trOchary -, , -" : ''. 4 Love In tourney to lechery Tlayc Is tourncd to vi arar Aril haliday to ilotc .

r. 01, not only Is the poet's constant co . puricon of the idea].

torzar. r, o with tho decadonce or later timoa -ý ao voll arg the

zcs of proacntirg this ccrºparison - traditional, but cart' o. the

cviln ho doplores co o Sroa a co=on atockor conplaint. Thus

3. *the l, 1.45. Also i . 1. Curtin , TI; mi2can Mtr raturo iu

tj'j2Lntjn Etd le LZI! 3I 0p. c1t, s pp. , 94-u. _ ... _.. __w

4* 1 `III ': ý # cd. -Vs J. sý'13rni aýý ýA ýOýcý.. X'! '-CCder ee ý 1869), 9&83,11* ` .. (I ... l . ., 9-12. Cr a1ao rýo

rcs pt at t; ci. T. . Vlri ht : 'o vn not Carol" or trio .i-.. t ccn*, "uz^ , op. ctt., D7.9 - 1. , -` c tonfa

_ cvl ms w so =sue ... saw'Thivor in hi a 'air e ro a :r

, __ th-o

World 'oTn. c7r, 1oez in ocit"jgy. 1X4Z -, rjOf 1htllbar'a refrain "ithin T t. 2is land wan r. ov r rd r. or c crc! p , '. rYQr1 _lI1 r

iyZ9Ir. th ~ 81nnCr. ?ce, 29. c

388.

wo have turtucr evidcncc that the pocz and its like ao not necea-

aarily or aolclj roper to ury contcnporary political or social

condition. auch poczz dcVloro the Estate of rzzld d co a wX1olo,

his fallen position, as well ao 4av1n,, porhapo ernte: porarl

rc: fcrcrco. Alzoot every cozplaint in The r. nnt of ano i. en can be rq

parallolod olac rihcrc in rcdiooval literaturce , ---, The complaints

expr auced In t. o poca may perhaps be aivid ; ci into four roupo:

the decay of personal virtues; tho uccay of rcaoon, and lcarninZ;

the lack of Justice; and t ne lack of rccpect for the Church.

iratly, the dcca7 of personal virtuosi. All loyalty has

dicappoarod (4-5P-45P 51). - TM'u is one of the cost co=on

co. platnta. in luter iodiacval literature. To illuotrato: l

."" vcna tror7th°-yd oat- neyto, dig gu. ̂ºti sirk". 111 4týarat

r. '. cre ours rrcndia wuro, t, untý`ýc 12^º1 iC y LrontV1 *we

Love,, as cull va riäolity and fricrdship; han c iic. öp carcd {11,33-4,

57) : : his., is a, cor tctporary topic 3, _.. .

unto and wroth thor is vol rivo, . ,.... ,. -f tr. ; -trc:; Novo aia füS ° thin: o; 10

s .. kre, +" ew .'. ii Mx .* Yt

of { ... -f>r wn a Ty.:

3H _r

`de

.

^k °

-'*+µn9

&`" 4^9 h

Zi ill -, also, has ý2 ýp ©az ei3 tviz '... rý 'toi pride (58) ="

hncMint Ruibu; Arrlin rnr t17

5. on:. thiý ^tr_cä, 133a 11.11=14; .. °cf,. alco ýIflc -or 'Our Tine* ': L: S jc isn-i-m. wt crc of d_fcrc cat: Go' uolactcdt,, ` ocu wh int nn PP"'°clxxxv-clxxxvii, . 3y f

Chmuccr, -2 he Forcer-AU, 1l: 61-2; Dunb ar' o, ruhomi to Sall IC rl, nc r.. - ;, 'o, ii, 100-31 lit 1

6. A on thm 'sir, ^n (i: cien of Ldward 2), cd. T. . lriLht, P`h: b ro11tic-11 ! 'orrn or Fr; -lnnd 'p-q-1 so P P. 195-205t 11. cr alao c3otimt syttatu in ocinitio, 11" 15-17"

7. c the '? jr', n 1333,11.9-10; cf also Skelton, 'ho S nn er of tho :, orl d T. o: mc nvn, at. 5-6; Dunbar, ovor t ntth Dro o. Uov, 'niW, in rzy Ulu:. z o r, 3.1 * 41-2. _.. ý .. w

3&9,

Cocondly the poet co plain3 about the decay of reason and

learnini. Iiov there have been oot Quito for oth^r purouita (20-21,

23,25-G) p or they arc uzod ror evil purpoaen (16). T, %ilo ucn

bleep hoax seekinz worldly plcacurca are azake (1.22). Once

main Ala is a comon co plalnh ;

... ältto in tourTnod to trcchcry f. I.. i'z°t: *c itc2 r. ýýcl ca. {ýntrtl° dý'Hý^nrrrtl aunt ... ...... fam..... .__,. r.. .... _..; ý,,....... r. -.... _. 'a1t3c Lr. bien b3. nc... 5 *

'hirdly there in conotunt co=plaint about the lack of justice,

tho substitution of niLht for rii; ht (23,41-2,49-50). -For

cönt : por-azy P U'U1lcl wo ray cite l

... Yor ciht is riht ... `

... For riht In riht the lon. 1 is laxtalca ... 9

For u: cn the wino alocp, r the evil arc about their buajnaoa (22):

cir ui zcn root ttü yn, .. roetin aorso rarreratt ý

Svoch tolar a xtakymf cd d ntr trz

.r rnti10

, ̂ourthly, ßr. ä Church has loot Its powar -{53). 131milarly

Y'rcý coats: oz aýr, ý literature we r cito i "the credo of soli yin al

8, ý? 1n of our 1 11.9 0,19 and'21 j' - -cf 'ulso ' rvernitiga of the ALap C. Co týra zig" elirtý. oue Týwrloi of -Lh '-Pj tc^nth CanturZ oct. g p. 263t 1.1, t` i doctouric nrec-t , cc2. I. 'sbd Kitchioi

no ¢ýanrat7rw V¬ vincrin 1o .ct. # Ait, 2 -5p `11. '9-i3, y ýr.. ý.. r iil. r. rrrýrrr

°9. cn ruet car et df: ferr, 11.2$ and of also Ch ucor, - ;= aºt i fn tZr'n , 11" 10--12; VLMU-cg Exi1r i Vice FnthMncc g

ad* L" 2lrottn, 'c Abu ` TLyri : oir - h"s ;:? iftcnjth Gent'v=ýý . ßp. 269 11.1-2# 12-13# 1 vunbarR evorlt with Vronc. Dcwgin in 'r-, rr 1 rO 11.31-3r 46-ý81 i; ow--In our kinry# cd* Vi. 'iod-lrttchiet , ':: a ý rzrr tyný !' runcriot foc! ", 1t 2+. L 7 yr 11.40-º6.

10; .G}

the Tire-, 11.175-8.

s

255.0.

to drnuo. "11 The Church in ituolf corrupt (17-21). As Owat has

sho u1` coz: plaiut about the 'orldly and hypocritical liven of rang

of the cler ,y is canon in later mediaeval sermon material; the

poetry of the ago is equally condozniMt

Sic pryd with prellattia, co few till prcichc and pray; ... So zony prciotia clod vp in occular void

'pith blaoir43 brelatia caatin, a thair claithia on braid 9.13

: 'hic io but one of many poaoiblo ox=plcrj.

The cause the writer given for these calamities is also tradi-

tioral:

, '. erg cant of Bryce ien cakis fulis to it on Link19 (8 et ff)

7o e:: ould note that this ics, in itself, another example of tho,

world 'upside dorm': fools should be ruled over not judges and

prince. Orccory Snith14 has shown that the expression Itself is

proverbial; so ouch it is another instance of tho co=on uco of. - proverbs by cediaeval poeto. The idea occurs elsewhere in

ccd1neval poetry:

Quhat to the cause sic truble sic debait Sic rubric: reif ryngia in this rcCioun The lordis, in youth to lair folyo ar sett Ewa . anti©avortev-and-eruditloun ...: 15

We ahouldi perhaps rereL. ber also the theological overtonea of the

word 'rule, for a nediaeval audience, A 'fule' van not narely one

lackirgf in intelligent s but . one who substitutcd' the values of

this world for thoco of tho next. This io a cor.. on conception

in Uidd-lo Scots poetry: wo ̀ have' peen it already in fionry&on's .

11« On the Corruptions of-the Tirent-1.23

12" I. iternturr and Pulpit in i'edineval Fnr-lnnd, op. cit., pp. 242-86.

13. tunbar, cvcrL with Drc^: ýn, Dcvynir. in ry. Clrnmer, 11.6,11-12.

14. Poc_3, nct, i, 78, note to 1.8.

15. !. C -rntiou-i rrourd nrd ci to to on ice, ©d. W. Tod Ritchie (bee over)

391.

cok and t., *- Jcrr--Il (1-142)o It alto occLro in !, unbarld In 1,2Z

n-i y , )t Ä`., rorn ctic u-7! 3: s 1c

00 ccrlc, " quoä ocho, "0 Pule, ut rnt or thy taill, rns in tz son ,; Lud uc: 4tcnß 1o thair noro, cor boith to typt the tyro and ti to travaill 0 coy luve bot vyopo God a11Gio" (29-32)

Andb of courco t tho ; octl: rc=cdy for thto coz ": aion is equally

trttditiara1. Goy: tan been Lricvcdi he prays to 11i to rcfora

tho situation (70-1). This Can be rarrllclcd clue*: crct

Vow lctt us pra,: J bott oc 4t all, And apocyally upon God call, To core love rnd I CUC® : or. us ail, ...

V

Thu uub: cct of he i; nr. t or ', wu ? reiss then to trat tionn3 co

is tra Cpr- W', V1 otflog t'o hnvc u1reauy ocon ovitir cxa plca or the

rhotorlcal de'iccc uocU. to cxprcuu contrast in tiro. Tho hcavy

occurrcnco of c111toration - , jCovnz1 in. aluoot cverj lire, oftcn

linkin ovary iriºortart word in tho lirro - to to : iliar to us fron

our ott: 4 or ücxiryccnt a poono. Tho r2yco ochczo to that ot, the

L'oti: ýa : silo otarza which in uccd cxtcnciyoly t z`ouhout tho

ttttconth cr4 uixtccnth corturiuD, lar O1y ror, + idact1a 'ocna. o1'

the typo of 'The of °rn» The notrar however, Vrovc3 very

intcrvctin . ian. y of the lirca arc for rromm rc ular. n or: o have

rcontý ýe "ums i'anusc ' op. cit., ii, 22j.. 1, ß, 11,. 57-64; cP lý co 1 haar, ocvrcrit with Prcr), 17nvynITir In Eg

11.21-5"

16, n, on cit., iii 174-81 ct also : 'nd and riolltntrc nrd rm*tt'rcl r, m nllonc^, cd. ;;. A. Craiciu, ; Prn J'nit1nruct i'011O

,,. t er ee ib. ,i" 250-19 11.33- .

17. `. 3i: olU. 23-5.

392" . IV

.M

eleven syllables, others twrelvo. Thun "sen want of rlyec on nakia

tulia to sit on binldn" (3) has cloven syllables; so have 11.19

(the final 'go' must be pronounced to rhyme with 'saoralitee') 23,

29,33,35,41,62,63,71. Of course these are read with five

stresses, but t acy are certainly not regular iambic metro as the

bcg; innin o; the poch would lead us to expect. And there are

many lines which have twelve syllables: "For rudely £ouvornance

thin world was Collinscald (10)" Similarly lines 12,27,38,39,

499 50,51,52,53,57,58,59,61,69, Again, =oat of tihcee

could be read Frith five stressen -a type of accentual metro -

but none at least, for instance that just quoted, could be read

with six. Again, some lines have loss than ten syllables, and

fewer than five strcaaec e. c;.. _. cuhais pover, wisdoac and i onouro (67)

üenr, son h3 ircorporatel 'the' bacicforia of-this poczi (the °'

'laud&tor tcrporis acti') into The Docl, The Scheip and the 'o'olft

(11.154-68) and The Zion and the Lou, (11.69-77). \7hcreuo The

-, 'ant or 1. ýync Ven io merely a Genre poen, however, Henryron has used

the form creatively: it transform ito context in hiu, poem's (uidcnir the ecope of the fable foz a) and in transformed by them

(the detail of the context Given added force to the generalized

cozilaint3).

41

393"

t

fae! text end It

ý oved cr ;rt, t.:. l eß con. -

394"

the e1etr. 'Ani On1ar; vd 3 ?! om e+ , {°. ., o- tunic bons, vol. lxxv, no. 184

n cr .e",

-17,71 i0 Qc c' rF °C et -

{1ýit, ' "iý. Eý ,1 X397 I

.C', '' , 'e ('! - i ". .i,,

r t)uthno4t/:

P na ?. nlrei

i .rT iy1 in i r4 and

p 4ýz fiT _ =1; `` '. , 1'.; '. . r. º tri, ; q} '-r rt trans--

. ý'... 7 c, tý: ', "., " s 1910"

ýºriýetotile, _ertýý! rci ýs, tr. Iardinal ! oasarion, : arias, 1515

"tkino, J. " ," ;ý itgra Critialsims The ro°'iusval : 'haee, aaº ri T* , 1945

; k%da)ay, Joi. n, t-geac, erl i .l. whit in,, ."_.. "'.. 184,1931

t Luerbacn, . rio.. , :iec, reg elk ), of -, galiti ja

o erg ur , d* . (. k. Jrrtav, r ceton, 1953

u-Rustine, 3t. s',. of "ihrs, arrst om ink 1, L AI- xzzvi, co e u; ..

8m1dwtn, . 1. . 1411eaya1 hatte and " oetic, New York,, 1928

". . rht Semen- ti iu Griot, co_ httohie, vols. *1 New orios 22, ? 5, r, Third `xerise 5,1926.33

sarbaran . *a, a nt « ^raa a 406 X

:. i..:.:. ' Win,

"u entea ct revue .?

S. 113n, 14 vo a, , aria,

cýas tº ý1oe. eue, tnglicust eci+ f Dy�&grums tr. Jots of 'frerisa on on, 1515

10

" eil , " ",

yf. iA. s 3 ý" rv z. u 'tea "` 1

t y

a t

" 1r ,

a a

Il

4

77v"

-I

I

0

397"

, h_Huce r, eotfrey, e e*nt of , cuýt =, , ̂cl. . `, . Brewer,

. orEwný_ nlur <; T)

,; t user, :, eoffrey, c rkq,, -..., obinson, end edn, on (, n, 1), i

,i aný OL tCQu$ of :} , bla s and sen L her karr 'r-c t i, . dinburr h, 1, OB

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