25 November 2017

Further Remarkable Daughters



For some time the Letters of C. S. Lewis have been the reading on my nightstand. If I don't read a page or two before I fall asleep, I often read a couple of dozen when I awaken in the deep heart of the night. The letters themselves I love, but my response to the footnotes of Walter Hooper, Lewis' indefatigable literary executor, is at best a shrug. And yet the other night, a couple of thousand pages in, he made me sit up in bed, thinking I had dreamt what I just read. In a footnote to a letter of 19 November 1939 he wrote: 

Unity Valkyrie Mitford (1914-1948) was the fourth of the remarkable daughters of Lord Redesdale.

Fans of Tolkien will immediately notice the similarity of phrasing to the first chapter of The Hobbit:

The mother of this hobbit -- of Bilbo Baggins, that is -- was the famous Belladonna Took, one of the three remarkable daughters of the Old Took.

There's no denying that the Mitford sisters were indeed noteworthy, some of them even notorious; and the world brims with remarkable daughters. So Hooper's phrasing may be a matter of chance. But it would also be no surprise if Hooper consciously echoed a work Lewis esteemed so highly.

21 November 2017

Quickened to Full Life by War (OFS ¶ 56) -- Living the Iliad

Julian Grenfell

Julian Grenfell was a poet and soldier of the Great War, who embraced the idea of battle and the war even as he also sneered at the lives of Staff Officers safely away from the trenches.  The moment before he died in hospital of a wound suffered at the front, a ray of sunlight came through his window. Grenfell said 'Phoebus Apollo', his last words. Within three months the war also claimed his brother. His mother received a letter of condolence from a family friend, in which the writer evokes both Christ and Apollo in the hope of offering some consolation:

How often Christ's cry upon the cross re-echoes through one's aching soul; that most desolate and piercing cry the saddest ever uttered in this sad world.... We do not know how God answered it; but we believe that, in spite of cruelty and sin and death, the answer is peace. I think the answer to you comes through the testimony, the living proof, of those most glorious boys, who never looked back, and went to death like Bridegrooms, like Phoebus Apollo running his course; Phoebus, who sent his shafts to Julian in his last moments on earth, and was answered by the flicker of his eyes; that gleam from Julian which will speak to you, in the long hours of waiting and darkness, of the immortality of the soul and the deathlessness of love.  
(Vandiver 204-205)
In her exceptional book, Stand in the Trench, Achilles: Classical Receptions in British Poetry of the Great WarElizabeth Vandiver comments on the 'remarkable ... unproblematized, matter-of-fact manner' in which the letter joins Christianity and Greek Mythology. It reflects the society from which the poetry of the Great War sprang, regardless of whether the poet was Grenfell or Brooke, Rosenberg or Owen:
In a cultural situation in which the elder generation chose to phrase its condolence letters and its exhortations in such terms, it is small wonder that poets who were themselves soldiers employed a similar amalgamation of Christian and pagan imagery and concepts, in which the idea of the soldiers as new Christ, who lays down his life for his friends and his country, is inextricably intertwined with classical exempla.  Some poets invoked not just classical allusions but the Olympians by name, and in a tone that would imply utter sincerity did we not know that the soldiers of 1914 were nominally, and often much more than nominally, Christians, and their poetry is permeated with invocations of Jehovah and Christ. Yet, although of course no British poet (soldier or civilian) writing in 1914-18 would have claimed to 'believe in' the Olympian gods in the sense of assuming those gods' objective reality, pagan imagery of the Olympians and the heroes is inextricably interwoven with Christian imagery. The Christian soldier must fight for justice and the protection of the weak; it is his Christian duty -- and Zeus and the heroes of Troy will spur him on to do so.
(Vandiver 206)
Clearly for Greek mythology to wield such imaginative power over these poets and their contemporaries, it must have been as alive as their faith was, even if not as objectively real. It is what we know, what we love and believe in, and what we find important that help us parse our experiences, all of them of course, but most noticeably those that shock our innocence and challenge the way we have seen things so far. Not long ago I wrote about C.S. Lewis and asked what it must have been like to go off to The Great War with a head full of Homer, as so many of his generation did. It was in discussing that post with Connie Ruzich that I learned about Vandiver's book, which explores precisely all the different ways in which British poets of The Great War used the imaginative tool given them by their knowledge of Homer and the Classics to grapple with the war and its meaning.

In that book, moreover, I came across a poem I am not sure I'd seen before.  However that may be, the poem now struck me in a new way:
Deaf to the music, once a boy
    His Homer, crib in hand, had read;
Now near the windy plains of Troy,
    He lives an Iliad instead.
Of these lines by Edward Shillito -- and I have not yet been able to ascertain whether they comprise the entire poem, or are but a selection, since the book in which they appear is hard to come by (road trip!) -- Vandiver aptly remarks:
Far from saying that the actual experience of real war shows the boy how insufficient literature in general and Homer in particular are, Shillito's poem implies instead that the actual experience of war shows the boy precisely how real Homer is. The contrast is not between reading the Iliad and experiencing actual war but between reading the Iliad and experiencing the Iliad. Thus the Iliad is assumed to occupy both realms -- active and contemplative -- simultaneously. 
(246, italics original)
Shillito's verses and Vandiver's observations on them together brought to my mind remarks by another veteran of The Great War, who had a similar experience, but with a different mythology. In his essay On Fairy-stories, J. R. R. Tolkien wrote:
Poetry I discovered much later in Latin and Greek, and especially through being made to try and translate English verse into classical verse. A real taste for fairy-stories was wakened by philology on the threshold of manhood, and quickened to full life by war. 
(OFS ¶ 56)

Indeed, one might well say that for the lad in Shillito's poem, the Iliad was 'quickened to full life by war.'  While I don't for a moment imagine that Tolkien needed a crib of Homer, Beowulf, or any other text, I find the parallel between his statement about fairy stories and Shillito's about Homer striking. Both chose to represent the effect of war as a bringing to full life to something not so before. If Shillito's young man found himself suddenly in the Iliad, as it were, Tolkien had already started down the road to Faërie. Philology had already given him the taste for fairy stories, but only the experience of war brought that taste 'to full life'.

It's certainly easy enough to see how the chaos, gore, and dismemberment that Grendel visited on Heorot every night could have become more vivid to a young subaltern on the Somme in 1916; and how the resistless doom that stalked Kullervo might have seemed more than just a tragic story to an officer with a life expectancy of six weeks (as was the common belief; cf. Tolkien, Letters, no. 43). Even many years after he wrote On Fairy-stories Tolkien still spoke of that time in words that convey a feeling of powerlessness in the face of something far more vast: 'to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918 all but one of my close friends was dead' (FR xxiv). Tolkien being Tolkien, we should probably allow that by 'involved' he means far more than a dull variant of 'include'. In Middle English 'envolve' means 'envelop', as in John Lydgate's Troy Book: 'Vnhappyly with hap þei were envoluyd' (TB 2.3223): 'To their misfortune they were by fortune enveloped.' Sounds about right here. More importantly, however, the sudden shift from the impersonal forces and dates of Tolkien's first sentence here to the lonely private grief of the second stuns like a hammerblow. 

A similar disquiet born of memory can be heard in C. S. Lewis's letters of September 1939 in which he twice records 'the ghostly feeling that it has all happened before -- that one fell asleep during the last war and had a delightful dream and now has waked up again' (letters of  September 15th and 18th), and on October 2nd Lewis writes in a letter to his brother that the call-up of men 20 to 22 years of age would affect Tolkien's eldest son. Small wonder, then, that Tolkien or any man who felt he had been so 'caught' should think of escape, but it is the escape of the prisoner of war he speaks of, not of the deserter fleeing his duty. An important distinction is being made here. The prisoner of war who escapes is fulfilling his duty, and he escapes to carry on the fight, not to avoid it. Thus Tolkien is not speaking of an escape into fairy tales, but an escape through fairy tales. Just as Greek mythology did for others, fairy tales afforded Tolkien a way in which to parse his experience of the war and a framework in which to express the struggle to do so. 

In May 1944 in a letter to his son, Christopher, then in the RAF, Tolkien recommended writing as a means of expressing what he was feeling in the service:
I think also that you are suffering from suppressed 'writing'. That may be my fault. You have had rather too much of me and my peculiar mode of thought and reaction. And as we are so akin it has proved rather powerful. Possibly inhibited you. I think if you could begin to write, and find your own mode, or even (for a start) imitate mine, you would find it a great relief. I sense amongst all your pains (some merely physical) the desire to express your feeling about good, evil, fair, foul in some way: to rationalize it, and prevent it just festering. In my case it generated Morgoth and the History of the Gnomes.  
(Letters, no. 66)
Just as the bitterness of exceptional voices like Sassoon and Owen did not sum up all the possible reactions to the war (as many once believed, following Paul Fussell's brilliant The Great War and Modern Memory), so too Classics and Greek Mythology were not the sole means of expressing or working through those reactions. In recent years scholars have been moving towards a broader view of the poetry of The Great War, as well as a more balanced assessment of Tolkien vis à vis the other writers of his 'Modern' era. We need to do the same with the reaction that found expression in the 'mode' of fairy tale and fantasy. To write The Fall of Gondolin while recovering from trench fever is not the same as to fall for the Cottingley Fairies. We don't need to defend it as if it were. 


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12 November 2017

Legolas at Night -- C.S. Lewis and the Dreams of the Elves



The other day I was listening to one of Malcolm Guite's marvelous talks -- I say marvelous, as if, absurdly, there were talks of his that were not marvelous -- this one was on C. S. Lewis and part of a series on The Inklings. Right near the end, he read aloud Lewis' poem, The Adam at Night, to convey Lewis' sense of what the consciousness of an unfallen human being might be like. In this poem, first published in Punch in 1949, Lewis imagines Adam not sleeping, says Guite, but, 'as it were, entering into the consciousness of the world itself without losing his consciousness as a person':
Except at the making of Eve Adam slept
Not at all (as men now sleep) before the Fall;
Sin yet unborn, he was free from that dominion
04  Of the blind brother of death who occults the mind. 
Instead, when stars and twilight had him to bed
And the dutiful owl, whirring over Eden, had hooted
A warning to the other beasts to be hushed till morning
08  And curbed their plays that the Man should be undisturbed,

He would lie, relaxed, enormous, under a sky
Starry as never since; he would set ajar
The door of his mind. Into him thoughts would pour
12  Other than day's. He rejoined Earth, his mother.
He melted into her nature. Gradually he felt
As though through his own flesh the elusive growth,
The hardening and spreading of roots in the deep garden;
16  In his veins, the wells filling with silver rains, 
And, thrusting down far under his rock-crust,
Finger-like, rays from the heavens that probed, bringing
To bloom the gold and diamond in his dark womb.
20  The seething, central fires moved with his breathing. 
He guided his globe smoothly in the heaven, riding
At one with his planetary peers around the Sun;
Courteously he saluted the hard virtue of Mars
24  And Venus' liquid glory as he spun between them. 
Over Man and his mate the Hours like waters ran
Till darkness thinned in the east. The treble lark,
Carolling, awoke the common people of Paradise
28  To yawn and scratch, to bleat and whinny, in the dawn. 
Collected now in themselves, human and erect,
Lord and Lady walked on the dabbled sward,
As if two trees should arise dreadfully gifted
32  With speech and motion. The Earth's strength was in each.

The first three quatrains (lines 1-12) called at once to my mind Tolkien's characterization of the dreams of Elves:
With that [Aragorn] fell asleep. Legolas already lay motionless, his fair hands folded upon his breast, his eyes unclosed, blending living night and deep dream, as is the way with Elves.
(TT 3.ii.442)
Legolas can do the same thing, or something very like it, by day as well:
and he could sleep, if sleep it could be called by Men, resting his mind in the strange paths of elvish dreams, even as he walked open-eyed in the light of this world.  
(TT 3.ii.429)
While quatrains 4 through 7 (12-28) do not bear the same close resemblance to what we find in Tolkien, the essential closeness of Adam to the world and the creatures in it is reminiscent of how closely to Arda the Elves are bound. Even at death they do not leave it -- as do Men whose proper home is not in Arda, but somewhere beyond it -- but after a time live again. And this will be so for as long as Arda lasts. In keeping with this is their way with nature, ranging from Legolas' ability to hear the stones of Hollin and communicate with Arod, the horse loaned him by Éomer, to the Elves' power to enchant and to 'wake up' creatures and teach them to talk, as they did with the Ents. 

Even so, the reference to the 'common people of Paradise' in lines 27-28 seems far more Narnian, and it is hard not to think of Tor and Tinidril of Perelandra when Lewis calls Adam and Eve 'Lord and Lady' in line 30. Yet this also turns us back to Tolkien, since the names Tor and Tinidril are modelled on Tuor and Idril from The Silmarillion, and his Ents are very much trees 'dreadfully gifted with speech and motion'. But so, too, in a sense, are Ask and Embla, the first two humans of Norse Mythology, whom Odin, Vili, and Vé fashioned from tree-trunks they found on the seashore: '[o]ne of Bor's sons gives [them] spirit and life; the second, mind and movement; the third, appearance, speech, hearing, and vision' (Lindow, 62). Both Lewis and Tolkien of course knew this myth perfectly well.

Finally in this lovely web of influences we should not forget that Tolkien modeled the way Treebeard spoke 'on the booming voice of C. S. Lewis' (Carpenter, 1977, 194), just as Lewis drew on Tolkien to shape his hero, Ransom, the philologist and hero of his Space Trilogy.

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09 November 2017

Thomas of Erceldoune V (25-72)



Image 1
FYTTE THE FIRST

Als j me wente þis endres daye,
ffull faste in mynd makand my mone
In a mery mornynge of Maye,
28   By huntle bankkes my self allone,
I herde þe jaye, & þe throstyll cokke,
The Mawys meynde hir of hir songe,
Þe wodewale beryde als a belle,
32   That alle þe wode abowte me ronge.
Allone in longynge thus als j laye,
Vndyre-nethe a semely tree,
[was] j whare a lady gaye
[36   Come rydyng] over a longe lee.
If j solde sytt to domesdaye,
With my tonge, to wrobbe and wrye,
Certanely þat lady gaye,
40   Never bese scho askryede for mee.



25 -- j: as previously noted 'j' alone  = 'I'.

It is important to note that the poem begins as a first person account, as if by Thomas himself, which continues until line 72. Thereafter the poet tells the tale in the third person, with one brief reversion to first at line 276.

25 -- endres: 'other'. The statement that this all started the other day conflicts with the later statement on line 286 that Thomas spent three years in Elfland.


26 -- 'ffull faste in mynd makand my mone': 'with every intention of voicing my complaint'. Most likely an unhappy lover's complaint, since that is a commonplace of Middle English poetry. Consider Chaucer, The House of Fame, where Dido laments her abandonment by Aeneas in lines 315-60, and the narrator comments (362-63): 'Al her compleynt ne al hir moone, / Certeyn, avayleth hir not a stre'. See also Troilus and Criseyde IV.950: 'Ful tendrely he preyde and made his mone'.


28 -- huntle bankkes: Huntley Bank, a hillside near Earlston (Ercledoune), also known as Huntley Brae. The naming of an actual place begins the story firmly in this world. The references to 'the other day' (25) and the Eildon Tree (80, 84) play the same role. Thus Faërie is very close to the world we know.

29-32 -- The singing of the birds, just  as one would expect in May, also helps to root the story in the ordinary world.

29 -- þrostyll cokke: a thrush, perhaps the missel thrush (turdus viscivorus). Swainson notes that throstle cock is the name for this bird in nearby Roxburgh (2).

30 -- Mawys: the mavis or song thrush (turdus musicus).

-- meynde hir:  'reminded herself', 'recalled'.

31 -- wodewale: the woodlark (alauda arborea), says Murray. While I do not doubt this, I have been unable to find corroboration. Swainson (98-99) does not include wodewale as a local variant for woodlark, but for the Great Spotted Woodpecker (dendrocopus major) and the Green Woodpecker (gecinus viridis) in far off Hampshire and Somerset, respectively.  The OED identifies the woodwall first as archaic name for the golden oriole (oriolus galbula, which seems to be the same as the oriolus oriolus, but I cannot yet confirm this).

-- beryde: 'resounded'.

33 -- Allone in longyng: see note on line 26.

34 -- semely tree: not the same as the so-called Eildon Tree (80, 84), another landmark, whose location is commemorated by a monument. See image 1 above.

35 -- was] j whare: here and elsewhere below the Thornton MS has lacunae in the text, and I have used the other MSS to supplement. Cotton reads 'I was war', while Landsdowne has 'I saw where' and Cambridge 'Saw I where'.  Clearly there is also confusion between 'whare' (=  'aware') and 'whare' (= 'where'), and this has affected the verb. Since the lines preceding these detail the speaker's awareness of his surroundings, I am inclined to the far more vivid 'was j whare', i.e., 'I became aware', which also preserves the inverted word order suggested by the remains of this line in Thornton, and paralleled in Cambridge. 

36 -- Come rydyng]: Cotton: 'come rydyng'; Landsdowne: 'cam rydyng'; Cambridge: 'came ridand'.

-- lee: 'lea' denotes open land not currently under the plow, either used for pasturage or left fallow.  

38 -- to wrobbe and wrye: 'wrobben' means 'babble on, prattle'. 'Wry(e' means to 'move by twisting or turning', sometimes with connotations of misinterpretation or madness. 

40 -- scho: she.

-- askryede for mee: 'described by me'. True to his word, the poet spends virtually no time at all in what follows describing the Lady. Rather he focusses in detail on her horse and its saddle (42-46, 49-51, 57-64), with briefer comments on the Lady herself interspersed (47-48, 54-56).

Hir palfraye was a dapill graye,
[42 ........................................
..............................................
..............................................
...............................................]
Swylke one ne saghe j neuer none;
Also dose þe sonne on someres daye,
48   Þat faire lady hir selfe scho shone.
Hir selle it was of roelle bone,
ffull semely was þat syghte to see!
Stefly sett with precyous stones,
52   And compaste all with crapotee,
Stones of Oryente, grete plente;
Hir hare abowte hir hede it hange;
Scho rade over þat lange lee;
56   A whylle scho blewe, anoþer scho sange;
Hir garthes of nobyll sylke þay were,
The bukylls were of Berell stone,
Hir steraps were of crystalle clere,
60   And all with perell over-by-gone.
Hir  payettrelle was a of jrale fyne,
Hir cropoure was of Orpharë,
And als clere golde hir brydill it schone,
64   One aythir syde hange bellys three.
[She led iij grehoundis in a leeshe,
viij rachis be hir fete ran;
To speke with hir wold I not seesse;
68   Hir lire was white as any swan.
Fforsothe, lordyngs, as I yow tell,
Thus was þis lady fayre begon.]
Scho bare an horne abowte hir halse,
72   And under hir belte full many a flone;

42-45 Murray places a lacuna in his printing of the Thornton, Cotton, and Cambridge Manuscripts, yet he clearly believes something resembling the text of the Lansdowne once stood here, since his numbering of the lines takes the Lansdowne into account. Yet whatever memory of the original the Lansdowne preserves is an imperfect and troublesome one, which we cannot simply insert to fill the gap, since that would disrupt the rhyme scheme and the numbering. 

[The farest Molde that any myght be;
Here sadell bryght as any day.
*44   Set with pereles to þe kne.
And furthermore of hir Aray,
Divers clothing she had upon;]

41 -- palfrey: a riding horse of the Middle Ages, known for a smooth, quick gait that made it ideal for travelling long distances.

*42 -- Molde: type, nature, character.

*45 -- furthermore: in addition.

*45-46 -- Aray...clothing: it is difficult to be sure what is being described here, since aray can refer either to the furnishings of the saddle or the apparel of the Lady, and clothing can mean 'clothing' as well as the 'trappings' of a horse. 'And furthermore', however, seems to establish a connection to *43-44, and the descriptions of the horse's tack are more detailed than those of the Lady, whom the poet calls indescribable in line 40, or describes in vague or fulsome terms: she shines like the summer sun (47-480; wears her hair loose, blows a horn, or sings (54-56). This inclines me to believe that aray and clothing refer to the saddle and its trappings.

*46 -- clothing: the trappings or caparison. In image two we see two caparisoned horses, one in blue, the other in red.

 lmage Two, by Jean Fouquet ca 1450s 1455-60.


46 -- Swylke one: 'such a one'. See next note.

-- ne saghe j neuer none: the vaporish modern prohibition against multiple negatives does not apply in Middle English. It requires a bit of gymnastics to make them all fit in: ''Nor saw I never none such as this one.' It is obviously a very strongly negative statement.

-- 49: selle also means saddle, but here may refer specifically to the seat. Cf. the same line in the Lansdowne -- 'here sege was of ryall bone' -- where sege clearly means 'seat',

-- roelle bone: walrus ivory, or possibly narwhal (OED s.v. ruel-bone). The Lewis Chessmen are likely the most famous example of work in walrus ivory. For much of the Middle Ages, elephant ivory was in short supply in northern Europe.

52 -- compaste: 'compassed', or 'surrounded', i.e., a border of gemstones ran along the edges of the saddle.

-- crapote: either toadstone -- a greenish fossil gemstone believed to be found inside the heads of toads (cf. Fr. crapaud), which could serve as an antidote to poison --  or emerald as  'Stones of Oryente' may indicate. How often is 'emerald' the more prosaic choice?

56 -- a whylle...anoþer...: sometimes...sometimes....

57 -- garthes: the girth of the saddle.

58 -- berell stone: beryl, of which emerald and aquamarine are examples.

59 -- crystalle clere: quartz crystal. Cf. Sir Orfeo 357-58, on the wall of the fairy king's castle: 'Al þe vt-mast wal / Was clere & schine as cristal'.

60 -- perell: pearl or mother of pearl.

-- over-by-gone: 'ornamented all over'.

61 -- payetrelle: peitrel, a 'protective breastplate' or 'breast collar' for a horse. See image three.

-- jrale fyne: an unknown precious stone. Murray says: 'I can get no light on iral-stane; the scribes also seem not to have understood it, and hence their alterations, rial, alarane, &c'. He guesses that iral-stane was the original reading, since that would rhyme with schone in line 63, which fyne obviously cannot.

63 -- cropoure: crupper, today only a strap running the back of the saddle to the horse's tail to keep the saddle from shifting; in the Middle Ages, a covering for the horse's hind quarters, often armored. See image two.

-- Orpharë: probably signifying that the crupper has an ornamental band or fringe of gold, from orfevrie, 'goldsmith's work', from Latin 'aurifaber', goldsmith.

Image Three

*65-70 -- A second lacuna, this one posited by Murray. While there is no visible gap in Thornton, Lansdowne shows one. Cotton is damaged at this point, but enough remains to show that it did not continue as Thornton does, directly from 'bellys three' to 'And sevene raches...'. Cambridge supplies the text I've inserted. This, however, is also problematic. For, as Murray points out, these lines are not in the poem itself, but 'written at the side and foot with marks of insertion'.

*66 -- rachis: a rache or ratch was a hunting dog that tracked its prey by scent, unlike greyhounds, which rely on sight.

*67 -- To speke with hir wold I not seesse: Since he has not spoken with her yet, this sentence seems unlikely to mean, 'to speak with her I would not cease'. Here 'with hir' makes more sense taken to mean 'regarding her'. He can't stop talking about her.

*68 -- lire: cheek.

*70 -- fayre begon: 'beautifully turned-out'.

71 -- halse: neck.

72 -- flone: arrows. Together with the horn and the dogs, the arrows suggest that she is hunting, but what, or whom? Arrows of course had long been associated with the god of Love. Does the poet's failure to mention a bow make it more conspicuous? Does her appearance as a huntress hark back to Venus' appearing to Aeneas as a huntress in Book One of The Aeneid? (1.379-497 Fagles). There Aeneas mistakes her for a human at first, recognizing her as his goddess mother only as she turns to go. Thomas will also mistake the Fairy Queen for someone else when he sees her (lines 85-96).


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Note to the Reader:

I am not a Medievalist by training, though I've read a fair amount of Old and Middle English for someone who isn't. My goal is to make this fascinating text more readily available and more easily read than it has been so far. The text Murray published in 1875 is available from the Early English Text Society for a reasonable price. (Beware of scanned reprints put out by others.) I have also lately discovered that Ingeborg Nixon published a text and commentary in Denmark in the early 1980s, but I have not been able to find a copy of it for sale at anything like a reasonable price ($300+). For that much I should get to meet the Queen of Elfland herself. One of these days I will make a pilgrimage to consult it at the New York University library, which seems to have a copy. So, pardon any mistakes I make, and help me to correct them. I will gladly publish any comment that is civil and signed. Anything rude or anonymous I shall delete.

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Works Consulted



Burnham, Josephine M, A Study of Thomas of Erceldoune, PMLA 23.3 (1908) 375-420.

Lyle, E.B., Thomas of Erceldoune: The Prophet and the Prophesied, Folklore 79 (1968) 111-121.

________, The Relationship between Thomas the Rhymer and Thomas of  Erceldoune, Leeds Studies in English 4 (1970) 23-30.

________, The Visions in St Patrick's Purgatory, Thomas of Erceldoune, Thomas the Rhymer, and The Demon Lover, Neuphilologishe Mitteilungen 72 (1971) 716-722.

Paton, Lucy Alan, Studies in the Fairy Mythology of Arthurian Romance, Boston (1903).

Swainson, Charles, Provincial Names and Folklore of British Birds, London (1885).

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⇦Thomas of Erceldoune IV || Thomas of Erceldoune VI⇨