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January 2000; Authors: Matthew Sweney. 1Less than a century after Geoffrey Chaucer's Troilus and Criseyde and two centuries before William Shakespeare's Troilus and Cressida, the Scottish poet Robert Henryson (c.1425-c.1500) crafted a daring "sequel" to Chaucer's work detailing the ending of Criseyde, and a sad ending it is. These slightly double-edged morals are characteristic of Henryson, and his poems can offer readings that are more complex and open-ended than any simpler conclusion would suggest. Cresseid is desolate and, cast into the street, where some say she became promiscuous or perhaps a prostitute, walking in ‘the court commoun’. On the surface the narrative is relatively straightforward, but do not dismiss the poem as simplistic. Something about her reminds him of his old lost love, but he does not know her, nor does she, nearly blind, recognise him. 2009. The Testament of Cresseid is post-Chaucerian in content, but also in tone: it aggressively readjusts Chaucerian attitudes, and not just Chaucer’s notoriously elusive and indulgent treatment of his heroine. The greatest moment in the poem, indeed probably the greatest moment in Henryson’s work, occurs when Troilus returns from battle and sees a group of begging lepers. So ends one of the greatest, tenderest, darkest poems of the late fifteenth century. Henryson's Cresseid is deserted by Diomede and for a time becomes a wanton with many lovers. I spoke on Seamus Heaney's translation of the Testament, and will be publishing that paper separately. Henryson produced many other verses on topics such as ‘The Ressoning betwixt Aige and Yowth’, and ‘The Garmont of Gud Ladeis’ which attaches a moral weight to each item of a woman’s dress, while ‘The Bludy Sark’ draws a Christian moral from a supernatural tale about a knight, a maiden and a giant that seems closer to the oral tradition. Karl-Franzens-Universität Graz; Download full-text PDF Read full-text. Introduction. This book will be of value to anyone with an interest in Henryson and Scottish poetry. The swallow warns the other birds that they have not taken heed of the coming winter, nor of the dangers of the fowler with his nets, and indeed when the season ends it is only the swallow who survives. Article number 11. Henryson's interest begins where Chaucer's poem leaves off, and deals with the fate of Cresseid after her return. In the ‘Taill of the Lyoun and the Mous’ the nobility are commended for their compassion, but also reminded that they actually depend on the commons, for it is the humble mouse and her relatives who gnaw through the nets to set the lion free. We know that he died sometime before 1508 because William Dunbar mentions him in his great poem ‘Lament for the Makars’ around that year. Sen she is deid, I speik of her no moir. 2Though not a sequel in the modern sense of the word, Henryson's Testament does carry on the story Chaucer began, but it does not necessarily follow Chaucer's original. Heartbroken, Cresseid sets out her testament, giving what goods she has to the leper folk and asking that her betrothal ring be returned to Troilus. His European influences include the beast fables of Aesop, which are the inspiration behind his own Morall Fabillis of Esope the Phrygian that most likely date from the 1460s. Originally published in 1926 as part of the Cambridge Plain Texts series, this volume contains the full text of The Testament of Cresseid by fifteenth-century Scottish poet Robert Henryson. Henryson imagines himself finishing the English poem on a chilly night, reading by the fire with a drink to hand, before reaching down another book that tells what happened next, most especially as an account of Cresseid’s tragic end. Robert Henryson’s poems are unforgettable, but little is known for sure about their creator’s birth and life. The most up-to-date bibliography is Peter Heidt- EIC, 11 mann, 'IA Bibliography of Henryson, Dunbar, and Douglas, 1912-1968," ChauR, 5 (1970), 75-82. Research output not available from this repository, contact author. Read full-text. We know that he died sometime before 1508 because William Dunbar mentions him in his great poem ‘Lament for the Makars’ around that year. The Testament of Cresseid portrays how Cresseid is brought to re. Douglas Grey's contribution to the Medieval and Renaissance Authors series mentions an additional biographical gleaning from Dunbar's text, positing Henryson's title of "Maister" likely means he graduated from University. By the poem's conclusion its tone changes from the telling of a story to something akin to a medieval morality play. The conventional moral (as in the end of Chaucer’s poem) would be to flee from worldly vanity to seek the only true security in the kingdom of Heaven. The other is his Testament of Cresseid, is a tale of moral and psychological subtlety in a t… Henryson’s retelling of Orpheus and Eurydice makes a similar point, for although Orpheus should renounce appetite in favour of control, we cannot, as fallen beings ourselves, deny the attraction of that fated love and its tragic outcome when we read the poem. Thus the cock who passes over the jewel in the midden (‘The Cok and the Jasp’) because ‘houngrie men may not leve on lukis’, is taken to task for not recognising a symbol of knowledge and virtue and yet, at the same time, the poem also recognises the harsher realities of life for the common people in medieval Scotland. For more information, click COVID-19 in the menu bar above. Woodcut from Aesop's Fables. Due to its style, many scholars date Testament of Cresseid as one of Henryson’s later works, near the end of the 1400s. Henryson's finest poem, and one of the rhetorical masterpieces of Scots literature, is the narrative Testament of Cresseid. If you would like any information on anything on this page, or would like to be involved in any way, please contact Morna Fleming using the contact page on … One is The Tale of Orpheus and Erudices his Quene, his dynamic and inventive version of the Orpheus story. Compare Chaucer's use of the pathetic fallacy in Troilus, I.13-14. It is his best known poem. Robert Henryson’s poems are unforgettable, but little is known for sure about their creator’s birth and life. Testament begins as the narrator describes a cold evening "in the Middle of Lent." The Testament of Cresseid. No copies of this survive however but from other sources it is known that there were printed editions before the printing of ‘The Testament of Cresseid’ in Edinburgh by Henrie Charteris in 1593, the most reliable text which is widely drawn from. A short editorial introduction is also included. The scene is set for Cresseid’s lament, a familiar medieval ubi sunt sequence of regret, which lists all her former joys against current cares, with a moral for us all: Nocht is your fairness bot ane faiding flour, Nocht is your famous laud and hie honour glory Bot wind inflat in uther mennis earis. Henryson's surviving canon consists of three long poems and around twelve miscellaneous short works in various genres. The action of Testamenttherefore occurs in the same fictional time as Chaucer's Book V between the last time Troilus sees Criseyde and his death. Cresseid's apparent defamation of Cupid returns us to the questions Henryson raised at the beginning of the Testament where, instead of focusing on the heinous nature of Cresseid's infidelity, Henryson problematized her literary infamy by framing his poem in terms of questions concerning the motivation behind the stories that have been told about her. Chaucer's poem, in more than a thousand stanzas, runs to more than eight thousand lines; Henryson's poem, far more terse and concentrated, consists of six hundred and sixteen lines, which may be divided for convenience: He may have travelled in Europe, and an edition of his Morall Fabillis from 1571 refers to him as a schoolmaster in Dunfermline where he was associated with the Benedictine Abbey school, and indeed we know that he notarised a number of legal transactions while he was there. Where Chaucer focuses on Troilus' end, Henryson offers closure to the character of Criseyde, whom Chaucer largely ignores after her betrayal. Leprosy or syphilis in Henryson's "Testament of Cresseid?" The text includes several staples of medieval literature: references to Fortune, the influence of the planets on human fate, and the storytelling device of the dream vision. Set in the aftermath of the Trojan War, the Testament completes the story of Chaucer's Troilus and Criseyde , offering a tragic account of its faithless heroine's rejection by her lover, Diomede, and of her subsequent decline into prostitution and leprosy. Henryson’s poetry shows a sweet Catholic sensibility, full of humanity and charity, but capable, too, of a certain grim understatement that would come to be associated with Scottish habits of mind. The second was dedicated to Robert Henryson, and concentrated on Orpheus and Eurydice. Along with the Morall Fabillis, Henryson’s masterpiece is another retelling with a moral purpose, namely the story of Troilus and Cressida from classical myth and the Trojan War. Two other long works survive, both a little over 600 lines each. A. Tasioulas (Edinburgh: Canongate Classics, 1999). For instance, Charles Elliott, in the introduction to his edition of Henryson's poems, says that the "leprous Cresseid, 'dead 1. Filled with detailed descriptions of the ancient gods, questions concerning the "crime" behind Cresseid's punishment, and the maturation of Cresseid as the poem progresses, Testament is a remarkable example of Henryson's skill as a poet and is often considered his masterpiece. It imagines a tragic fate for Cressida in the medieval story of Troilus and Criseyde which was left untold in Geoffrey Chaucer 's version. Dismiss. Topics. The narrative is even more grimly terse when her father sees what has become of his daughter’s looks: ‘Thus was thair cair aneuch betwixt thame twane.’. by. 1 (Edinburgh: Edinburgh University Press, 2007), Following Scottish Government guidelines, the Scottish Poetry Library is now open to the public Mon-Fri, 10am-2pm. 2 beamis: beams: One feature of the original spelling has been fairly consistently retained for metrical reasons: ‘The Preiching of the Swallow’ confirms Henryson’s modestly democratic spirit and his characteristic vision of how a good human life may be lived in harmony with God, the natural landscape and the beasts and birds of the field. The Abbey at Dunfermline was one of the wealthiest and most prestigious foundations in Scotland. From the French pastoral genre, Henryson has fun with ‘Robyne and Makyne’, in which Robyne cares more for his sheep than for Makyne’s infatuation with him, only to change his mind, and then discover, too late, that she has since lost interest: ‘The man that will nocht quhen he may / Sall haif nocht when he wald.’. Studies in Scottish Literature, Volume 20 (Number 1). Using that title as evidence Dunbar concludes, "the later tradition that [Henryson] was a schoolmaster [in Dumfermline] is quite likely to be correct" (2). Cresseid acknowledges her betrayal of Troilus – Fortune is fickle and even the fairest flesh will come to rot. POEMS BIBLIOGRAPHY CRITICISM. THE TESTAMENT OF CRESSEID 1 1-2: “A dreary season should correspond to a sad poem.” This opening contrasts with a more common medieval way of beginning a poem with a cheerful spring or summer, as in the The Canterbury Tales, for example, or Piers Plowman. Testament of Cresseid exposes students to events and issues in medieval Britain, but from a marginalized society’s perspective rather than from the dominant society. The snares of error and evil are all around us and man, half way between the beasts and the angels, must learn prudence. Stroud. The date of composition is unknown, but was probably in the latter part of the fifteenth century. From this beginning, lamenting his own thin blood, long past the fires of youthful passion, the narrator takes the tale in an entirely new direction, the final meaning of which is complex, elusive and unsettling. Divine Justice in Henryson's Testament of Cresseid The central problem in Henryson's Testament of Cresseid is the question of divine justice. Jack, ‘Robert Henryson’ in Marco Fazzini (ed. Cullen, Mairi Ann (1985) Cresseid excused : a re-reading of Henryson's Testament of Cresseid. The "he" Dunbar refers to is Death, so Henryson likely died close to Laments' publication around 1505. Chaucer's work ends with Troilus' death, but in TestamentTroilus is very much alive. A dramatisation of Seamus Heaney's translation of the Testament of Cresseid by Dr Jo George of Dundee University is planned as part of the programme. ), Alba Literaria: a history of Scottish literature (Venezia Mestre: Amos Edizioni, 2005), Antony J. Hasler, ‘Robert Henryson’ in Ian Brown, Thomas Owen Clancy, Murray Pittock (eds), The Edinburgh History of Scottish Literature, vol. These lines, so grimly succinct, are characteristic of the poem’s mood – akin to the later Scots ballads, with their narrative speed, their concision and their prevailing fatalism. The testament of Cresseid by Henryson, Robert, 1430?-1506? Publication date. Henryson’s version is starker, crueller and more ambiguous, for Cresseid is blighted by the (pagan) gods for her blasphemy against Venus, ironically the goddess of love. In the final lines the poet addresses the reader directly, whom he assumes to be young women, admonishing them to avoid mixing "love with deception." Engl Lang Notes. William Dunbar, Henryson's contemporary and a fellow poet, provides scholars with the only known "obituary" for Henryson in his Lament for the Makars: "In Dunfermelyne he hes done roune / With Maister Robert Henrisoun." The Scot introduces The Testament of Cresseid, his longest poem in rime royal, as a sequel to Chaucer’s Troilus and Criseyde, and in fact the poem was printed along with Chaucer’s version in an edition of 1532. The specifics of Henryson's life are basically unknown to history, and what evidence we do have is largely anecdotal. 1435 - 1505. Cresseid of Troyes toun, Sumtym countit the flour of womanheid, Under this stane, lait lipper lyis deid. Introduction. 1. The Testament of Cresseid is problematic to date, though Henryson's life places it firmly in the fifteenth century. The remainder of the poem is the content of that book. Wishing to speed along the dreary evening and coming night, the narrator takes a copy of Chaucer's Troilus and Criseyde. Many writers make their stage debut at the Edinburgh Festival, but they don’t usually have to wait for 500 years. The cold spring setting is appropriate to the sad tale of remorse he will relate. And Henryson’s conclusion is simple and brutally short: Of cheritie, I monische and exhort, Ming not your lufe with fals deceptioun. 4 tragedie. 71–72 [111-31]. Denton Fox (Oxford: Clarendon Press, 1981), p. 113, ll. The Testament of Cresseid (NIMEV 285) The Testament of Cresseid, an inventively tragic completion in 79 rhyme royal stanzas with an inset complaint in seven nine-line (Anelida) stanzas of Chaucer's Troilus and Criseyde, can fairly be called Henryson's most controversial poem. Yet winter will always come, however prudent we may be, nor will the little birds ever listen. Everyday low prices and free delivery on eligible orders. mix Beir in your mynd this sore conclusioun Of fair Cresseid, as I have said befoir. The poem is a sequel to Chaucer's Troilus and Creseyde. The Testament of Cresseid is problematic to date, though Henryson's life places it firmly in the fifteenth century. The following are notes that I took during the sessions. His masterpiece, the powerful Testament of Cresseid, has been called the most original poem written by a Scot; but it is his cycle of thirteen verse-fables which perhaps best conveys his warm humanity. When told who her benefactor was, she sees how far she has fallen: ‘O fals Cresseid and trew knicht Troylus!’. Its abrupt conclusion leaves us facing the excessive horror of Cresseid’s end, along with an aged narrator, who started the poem in the hope that he might stir his own fading spirits with a tale of love. A Man of Many Words. The Poems of Robert Henryson, edited by Denton Fox (Oxford: The Clarendon Press, 1981). And in the skirt of Cresseid doun can swak: Than raid away, and not ane word he spak, Pensive in hart, quhill he come to the toun, And for greit cair oft syis almaist fell doun. Publication date 1925 Publisher Edinburgh : The Porpoise Press Collection trent_university; internetarchivebooks Digitizing sponsor Kahle/Austin Foundation Contributor Internet Archive Language English. Now she must live with the leper folk, begging for alms in the street, where Troilus takes pity on her one day and leaves her gold. Hume K. PMID: 11616934 [PubMed - indexed for MEDLINE] Henryson, Robert, 1430?-1506. 1969;6:242-5. Troilus and Cressida, Folio 1, 1623 (Old-spelling transcription), Troilus and Cressida, Quarto 1, 1609 (Old-spelling transcription), The Testament of Cresseid by Master Robert Henryson. Hereafter the … Having thrown over Troilus for Diomede, Cresseid, now in the besieging Greek camp, is abandoned in her turn: ‘Quhen Diomeid had all his appetite / And mair fulfillit of this fair ladie, / Upon ane uther he set his haill delyte’. ROBERT HENRYSON'S TESTAMENT OF CRESSEID. 1Less than a century after Geoffrey Chaucer's Troilus and Criseydeand two centuries before William Shakespeare's Troilus and Cressida, the Scottish poet Robert Henryson (c.1425-c.1500) crafted a daring "sequel" to Chaucer's work detailing the ending of Criseyde, and a sad ending it is. Download full-text PDF. The Testament of Cresseid and Seven Fables, translated by Seamus Heaney (London: Faber and Faber, 2009), John MacQueen, Robert Henryson: a study of the major narrative poems (Oxford: The Clarendon Press, 1967), Matthew P. McDiarmid, Robert Henryson (Edinburgh: Scottish Academic Press, 1981), Gerald Baird, The Poems of Robert Henryson (Glasgow: ASLS, 1996), R.D.S. Buy The Testament of Cresseid and Seven Fables by Henryson, Robert (ISBN: 9780374532451) from Amazon's Book Store. His name appears on the University rolls of Glasgow in 1462 and later references to him as ‘Master’ confirm that he was a graduate who trained in the law. The testament of Cresseid by Robert Henryson, 1968, Nelson edition, in English 1 Less than a century after Geoffrey Chaucer's Troilus and Criseyde and two centuries before William Shakespeare's Troilus and Cressida, the Scottish poet Robert Henryson (c.1425-c.1500) crafted a daring "sequel" to Chaucer's work detailing the ending of Criseyde, and a sad ending it is. The Testament of Cresseid is a narrative poem of 616 lines in Middle Scots, written by the 15th-century Scottish makar Robert Henryson. Apart from that, little is known with certainty. A … Henryson was a man of status and can claim to be one of the greatest medieval poets of the period, perhaps second only to Chaucer, whom he called the ‘flower of poets’. The poem laments her fall from grace: Yit nevertheless, quhatever men deme or say judge In scornfull langage of thy brukkilness, frailty I sall excuse, als furth as I may, Thy womanheid, thy wisdome and fairness, The quhilk Fortoun hes put to sic distres, Taken in by Calchas, her kindly father, Cresseid repairs to a temple where she curses Cupid and Venus for having brought her to such a pass ‘Allace, that evir I maid yow sacrifice!’ There follows a long dream scene in which she is tried before the gods, who debate her blasphemy and finally condemn her to be blighted with leprosy as punishment: ‘And quhen scho saw hir face sa deformait, / Gif scho in hart was wa aneuch, God wait!’ [God knows!] Selected Poems of Henryson and Dunbar, edited by Priscilla Bawcutt and Felicity Riddy (Edinburgh: Scottish Academic Press, 1992) The Makars: the poems of Henryson, Dunbar and Douglas, edited by J. 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