This poem appears, in part, in the front matter of E.R. Eddison’s THE WORM OUROBOROS, which I had read back when I was 16.  Eddison quoted only six stanza, but I thought (for no one told me otherwise) that this was the whole of it.

Now, in my 60’s, only now have I learned there is a complete version.

Ironically, I did not know of the visitor to Elfland who could not lie until this very day: despite how unexpected the coincidence might seem, Gilberec Moth of my own invention is unrelated to True Thomas.

What I did not know what the Thomas the Rhymer, True Thomas, the Scottish foreteller who could not tell a lie, is based on a real man from history.

As the tale tells it, Thomas of Erceldoune meets the Queen of Elfland, who seeks to employ him as her harper, but he seduces her to become his leman. He harps at her court during a feast, which lasts three days there while seven years pass by on Earth.

During the ride to Elfland, whose food he dare not eat, was given an apple whose taste prevented him thereafter from ever telling a lie — hence his name “True Thomas.”

Sir Walter Scott remarks: “The traditional commentary upon this ballad informs us, that the apple was the produce of the fatal Tree of Knowledge, and that the garden was the terrestrial paradise. The repugnance of Thomas to be debarred the use of falsehood, when he might find it convenient, has a comic effect.”

The second and third parts of the poem tell of his prophecies regarding the wars between England and Scotland, and his mysterious disappearance at the end of his life, following a snow-white hart who appeared at his doorstep.

Alexander Gardner, publisher to the Queen, in 1865, in the annotated edition of THE BALLAD MINSTRELSY OF SCOTLAND, remarks “As both the English and the Scots availed themselves of the credit which his prophecies had obtained, in falsifying them, to serve their purposes against each other, it is now impossible to ascertain what the real prophecies of Thomas the Rhymer were, if he ever published such.”

He also remarks that the original and ancient poem, on which the later versions were based (such as that of Sir Walter Scott, given below) may indeed have been penned by Thomas the Rhymer.

In his words “Would it not be pardonable, from such instances as these, to suppose it at least probable, that Thomas Kymour (Thomas the Rhymer) was really the original author of this romance; and that in order to give a sanction to his predictions, which seem all to have been calculated in -one way or other for the service of his country, he pretended to an intercourse with the Queen of Elfland, as Numa Pompilius did with the nymph Egeria? Such an intercourse, in the days of True Thomas, was accounted neither unnatural nor uncommon.”

Here is the story as told by a modern (and comedic) historian.

Here is the poem:

First part:

True Thomas lay on Huntlie bank;
A ferlie he spied wi’ his ee;
And there he saw a lady bright,
Come riding down by the Eildon Tree.

Her skirt was o the grass-green silk,
Her mantle o the velvet fyne,
At ilka tett of her horse’s mane
Hang fifty siller bells and nine.

True Thomas he pulld aff his cap,
And louted low down to his knee:
‘All hail, thou mighty Queen of Heaven!
For thy peer on earth I never did see.’

‘O no, O no, Thomas,’ she said,
‘That name does not belang to me;
I am but the queen of fair Elfland,
That am hither come to visit thee.

‘Harp and carp, Thomas,’ she said,
‘Harp and carp, along wi’ me,
And if ye dare to kiss my lips,
Sure of your bodie I will be!’

‘Betide me weal, betide me woe,
That weird sall never daunton me;
Syne he has kissed her rosy lips,
All underneath the Eildon Tree.

This was all the poem I knew all my life until today. It continues onward to epic stature.
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A poem by William Dunbar in praise of the Nativity.

Note: The first line, Rorate coeli desuper, (‘Drop down, ye heavens’) are the opening words of Isaiah 45:8 in the Vulgate, used in the liturgy during Advent. The refrain “Puer natus est nobis” (Unto us a boy is born) is a Gregorian chant, the introit for Christmas Day.

On the Nativity of Christ

Rorate coeli desuper,
Hevins, distil your balmy schouris;
For now is risen the bricht day-ster,
Fro the rose Mary, flour of flouris:
The cleir Sone, quhom no cloud devouris,
Surmounting Phoebus in the Est,
Is cumin of his hevinly touris:
Et nobis Puer natus est.

Archangellis, angellis, and dompnationis,
Tronis, potestatis, and marteiris seir,
And all ye hevinly operationis,
Ster, planeit, firmament, and spheir,
Fire, erd, air, and water cleir,
To Him gife loving, most and lest,
That come in to so meik maneir;
Et nobis Puer natus est.

Synnaris be glad, and penance do,
And thank your Maker hairtfully;
For he that ye micht nocht come to
To you is cumin full humbly
Your soulis with his blood to buy
And loose you of the fiendis arrest–
And only of his own mercy;
Pro nobis Puer natus est.

All clergy do to him inclyne,
And bow unto that bairn benyng,
And do your observance divyne
To him that is of kingis King:
Encense his altar, read and sing
In holy kirk, with mind degest,
Him honouring attour all thing
Qui nobis Puer natus est.

Celestial foulis in the air,
Sing with your nottis upon hicht,
In firthis and in forrestis fair
Be myrthful now at all your mycht;
For passit is your dully nicht,
Aurora has the cloudis perst,
The Sone is risen with glaidsum licht,
Et nobis Puer natus est.

Now spring up flouris fra the rute,
Revert you upward naturaly,
In honour of the blissit frute
That raiss up fro the rose Mary;
Lay out your levis lustily,
Fro deid take life now at the lest
In wirschip of that Prince worthy
Qui nobis Puer natus est.

Sing, hevin imperial, most of hicht!
Regions of air mak armony!
All fish in flud and fowl of flicht
Be mirthful and mak melody!
All Gloria in excelsis cry!
Heaven, erd, se, man, bird, and best,–
He that is crownit abone the sky
Pro nobis Puer natus est!

An Anglified version :

Rorate coeli desuper,
Heavens, distill your balmy showers;
For now is risen the bright daystar,
From the rose Mary, flower of flowers!
The clear Son, whom no cloud devours,
Surmounting Phoebus in the East,
Is come down from his heavenly towers:
Et nobis Puer natus est.

Archangels, angels, and dominations,
Thrones, potentates, and martyrs sundry,
And all ye heavenly operations,
Star, planet, firmament, and sphere,
Fire, earth, air, and water clear,
To Him give praise, most and least,
Who comes in such a meek manner;
Et nobis Puer natus est.

Sinners be glad, and penance do,
And thank your Maker heartfully;
For he that ye could not come unto
To you is come full humbly,
Your souls with his blood to buy
And loose you of the fiend’s arrest –
And only of his own mercy;
Pro nobis Puer natus est.

All clergy do to him incline,
And bow unto that bairn benign,
And do your observance divine
To him that is of kings King:
Incense his altar, read and sing
In holy kirk, with mind degest, [well-composed]
Him honouring above all thing
Qui nobis Puer natus est.

Celestial fowls in the air,
Sing with your notes upon high,
In firths and in forests fair
Be mirthful now with all your might;
For passed is your dull night,
Aurora has the clouds pierced,
The Son is risen with gladsome light,
Et nobis Puer natus est.

Now spring up flowers from the root,
Revert you upward naturally,
In honour of the blessed fruit
That rose up from the rose Mary;
Lay out your leaves lustily,
From death take life now at the last
In worship of that Prince worthy
Qui nobis Puer natus est.

Sing, heaven imperial, most of height!
Regions of air make harmony!
All fish in flood and fowl in flight
Be mirthful and make melody!
All Gloria in excelsis cry!
Heaven, earth, sea, man, bird, and beast,
He that is crowned above the sky
Pro nobis Puer natus est!

I was reading CS Lewis’ writings on English Literature of the 16th Century, and was much impressed with this poem on the Resurrection by Dunbar, which was discussed there.

Oddly,  I knew of Wm. Dunbar only because his “Lament for the Makers” is quoted at a funeral dirge for the king of Witchland on the planet Mercury by the Red Foliot in the fantasy book THE WORM OUROBOROS (1922) by E. R. Eddison. And, because the Red Foliot is interrupted, until this very fortnight, I never read the astonishing last line. But if fantasy can operate as a gateway leading to the classics, so be it.

Of the Resurrection poem, Lewis remarks:

The ‘Resurrection’ is … excellent. It is speech rather than song, but speech of unanswerable and thundering greatness. From the first line (“Done is a battell on the Dragon blak”) to the last (“Surrexit Dominus de sepulchro”) it vibrates with exultant energy. It defies the powers of evil and has the ring of a steel gauntlet flung down.

Curious, I looked for it. It is, to be sure, an Easter theme, but I deem it suited also to honor  Pentecost, and so in that spirit here present to my beloved readers.

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