The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
§ 5. The Morall Fabillis of Esope
Henryson’s longest and, in some ways, his best work is his Morall Fabillis of Esope. The material of the book is drawn from the popular jumble of tales which the Middle Ages had fathered upon the Greek fabulist; much of it can be traced directly to the edition of Anonymus, to Lydgate’s version and to English Reynardian literature as it appeared in Caxton’s dressing. On one sense, therefore, the book is the least original of Henryson’s works; but, in another, and the truer, it may take precedence of even The Testament of Cresseid and Robene and Makyne for the freshness of its treatment, notably in its adaptation of hackneyed fabliaux to contemporary requirements. Nor does it detract from the originality of presentation, the good spirits, and the felicity of expression, to say that here, even more than in his closer imitations of Chaucer, he has learnt the lesson of Chaucer’s outlook on life. Above all, he shows that fineness of literary taste which marks off the southern poet from his contemporaries, and exercised but little influence in the north even before that later period when the rougher popular habit became extravagant.
The Fables, as we know them in the texts of the Charteris print of 1571 and the Harleian MS. of the same year, are thirteen in number, with a general prologue prefixed to the tale of the Cock and the Jewel, and another introducing that of the Lion and the Mouse. They are written in the familiar seven-lined stanza, riming ababbcc, From the general prologue, in which he tells us that the book is “ane maner of translatioun” from Latin, done by request of a nobleman, he justifies the function of the fable
In his treatment of nature he retains much of the traditional manner, as in the “processional” picture of the seasons in the tale of the Swallow and the other Birds, but, in the minor touches in the description of his “characters.” he shows an accuracy which can come only from direct and careful observation. His mice, his frog with
Orpheus and Eurydice, based on Boethius, may be linked with the Fables in type, and in respect of its literary qualities. The moralitas at the close, which is irksome because of its undue length, shows that the conception is similar: the title moralitas fabulae sequitur indicates that the poet was unwilling to let the story speak for itself. This, however, it does, for it is well told, and it contains some lyrical pieces of considerable merit, notably the lament of Orpheus in ten-lined stanzas with the musical burden “Quhar art thow gane, my luf Erudices?” or “My lady Quene and luf, Erudices.” Even in the processional and catalogue passages, in which many poets have lost themselves or gone aground, he steers a free course. When he approaches the verge of pedantic dulness in his account of the musical technicalities which Orpheus learnt as he journeyed amid the rolling spheres, he recovers himself, as Chaucer would have done,