The Truth Behind True Thomas

 

               “True Thomas lay o’er yond grassy bank. . .”

“Thomas the Rhymer and the Queen of Faerie,” 1852, from The British Museum.

Thomas of Erceldoune was a 13th Century Scottish laird who, so the story goes—popularized by professor F.J. Child in his English and Scottish Popular Ballads—one day met the Fairie Queen, was captivated by her beauty, and consented to accompany her to the Fair Lands—to Faerie. (The Faerie Queen was not exactly forthcoming about her destination him at first, but what else would you expect from Themselves?) She gives him a geas, a prohibition against speaking, and he serves her for seven years. And before being returned to the mortal realm, she gifts him with the power of True Speech. Ever after, he can only speak the truth.

By Katharine Cameron (1874–1965) – MacGregor, Mary; Cameron, Katharine (1874–1965), illus. (1908) Stories from the Ballads Told to the Children (Project Gutenberg), Public Domain, https://commons.wikimedia.org/w/index.php?curid=8720495

The presence of the Faerie Queen would lead the average person to conclude that this tale is fiction, pure fabrication.  Not so fast. So many old tales have their origins in truth . . .

 

Thomas Learmonth of Erceldoune was a real historical person. He lived in Ercildoune, a town now called Earlston, halfway between Edinbourgh and the border of England. Documents from 1294 prove he existed; he is listed as “Thome Rymour de Ercildoun.” Still standing today, although in ruins, is Rhymer’s Tower, his supposed home, (possibly a later building constructed on his land).

“Rhymer’s Tower, Earlston” by Hector MacQueen, 2010. CC2.     https://www.flickr.com/photos/hectormacq/4414896196/in/album-72157623449249579/

 

The Faerie Queen’s gift of True Speech brings to mind school tales of George Washington’s mythical “I cannot tell a lie.” Delving deeper into Sir Walter Scott’s Minstrelsy of the Scottish Border reveals that Thomas’ truth is equated with prophetic vision. He is said to have predicted the death of King Alexander III, the Battle of Bannockburn, and the union of the English and Scottish crowns—this last did not occur until  1603.

 

I’ve written previously about Thomas the Rhymer and the Christian symbolism in this tale, and the intersections of history and folklore equally fascinate me.

 

I’m pleased to report that my short story “True Thomas” has been reprinted in Fae Wings and Hidden Things, an anthology about faeries.

 

 

Further Reading

F.J. Child’s ballad #37 “Thomas Rymer”

Look at this! There’s a Friends of Thomas the Rhymer local history group in Earlston!

The Legend of Thomas The Rhymer and the Queen of the Fairies

Sir Walter Scott’s Minstrelsy of the Scottish Border

“Thomas Learmonth of Ercildoune” from Scottish Literary Locations.

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MY FIRST FICTION PUBLICATION: “TRUE THOMAS”

Christian Symbolism in Thomas the Rhymer

Thomas the Rhymer was a bard whose supernatural tale was recorded most famously in Professor Child’s English and Scottish Popular Ballads. Sir Walter Scott also noted this legend in his Minstrelsy of the Scottish Border. I have quite a liking for this human character on the cusp of faerie, as you may recall from my June 8, 2012 entry and my poems published in Eggplant’s Miscellanea.

Why do some of these legends resonate more deeply than others?

Christian symbolism runs deep in many of the traditional ballads Child collected. The famous “Cherry Tree Carol,” popular at Christmas, features a cherry tree with limbs bending low for a pregnant, craving Virgin Mary and a skeptical suitor Joseph. His anthology also includes popular ballads of Judas and St. Stephen, legends of King Arthur and Robin Hood, and tales of commoners, lords, and kings. My favorites are his supernatural ballads featuring witches and fairies. But even the supernatural tales are infused with folk Christianity.

In his ballad “Thomas the Rhymer,” True Thomas met a woman so radiant he mistakes her for the “Queen of Heaven”—the Virgin Mary—but no, she is the Faerie Queen. On their way to Faerie, they travel for forty days and forty nights through moonless, sunless skies. They encounter a garden with a distinctive tree but as Thomas reaches for the apple, the Queen cautions against the “very fruit o’ hell.” Instead, she offers him bread and wine.

The forty days are reminiscent of Christ’s prayer and temptation in the wilderness. In saving Thomas from repeating the sin of Adam, the Queen suggests a female counterpoint to Eve who, instead of sharing the forbidden, helps him refrain. Perhaps even the moonless, sunless skies reference the apocalyptic vision of Matthew. The Faerie Queen offering communion? I don’t even want to touch that one.

Eventually, Thomas and the Queen come to a fork in the road which branches three ways. In a tale borrowing one of Christ’s parables, the narrow road of thorns is the path of righteousness which few follow. The “bonny road” is a wide, easy path—the road to hell— “tho’ some call it the road to heaven.” A third path, which they travel, is not mentioned in the gospels and unique to fairie lore. It is the road to Faerieland.

After seven years and a plot against his life, the Faerie Queen sends Thomas back to his earthly realm. He returns to humanity, but not empty-handed. She has given an unexpected gift: unwanted honesty through an inability to lie. Thereafter he is known as True Thomas. At the end of his life, he returns to Faerie—although it is said he is waiting until Scotland needs him again.

In my fiction adaptation of the tale recently published in Lissette’s Tales of the Imagination, I have researched the historical setting of the Thomas the Rhymer tale. He is a folkloric figure like King Arthur who is based in history but has become larger than life. In its day, Thomas’ tongue which cannot lie indicated a prophetic inspiration rather than our modern interpretation of an ethical commitment to truth. Stories of his prophetic honesty were seized by Scottish nationalists in their fight for independence.

Folklorists group tales by related themes, and Thomas the Rhymer’s sojourn in Faerie marks him as a “Hero under the Mountain.” He embodies the “Cultural Hero Expected to Return” archtype, who like King Arthur, will return in the time of his country’s greatest need. Like Jesus Christ, he is coming again.

I do not know if, as commonly supposed, an older tale was Christianized by popular sensibilities, or how much transcendent truth is native to “Thomas” from the start. I’m not sure I care. I’ll leave that to the professional folklorists.

Orthodox priest Fr. Alexander Schmemann has said, “A Christian is the one who, wherever he looks, finds everywhere Christ, and rejoices in Him.”

Resources

Read Ash Silverlock’s thorough description of the history and progression of the Thomas the Rhymer mythos, including contemporary literary allusions here.

Listen to British folk band Steeleye Span’s version.  Available on their compilation album, Spanning the Years, available for purchase through Amazon.

Read Sir Walter Scott’s Minstrelsy of the Scottish Border through Project Gutenberg here.

Purchase the issue of Lissette’s Tales of the Imagination to read my historical fiction adaptation here.

MY FIRST POETRY PUBLICATION: THE SONGBOOK OF THOMAS THE RHYMER

According to the classic source from Professor F.J. Child, Thomas the Rhymer was a bard whose supernatural tale is recounted in the English and Scottish Popular Ballads #37. According to historical records, attested through land deeds, Thomas of Ercildoune was an actual person who lived in 13th Century Scotland.

The story:

One day Thomas met a woman so spectacular he dropped everything and bowed low. “Hail to thee, Queen of Heaven,” he said.

The Lady demurred, kissed him, and bade him follow: she was the Queen of Faerie. They travel for forty days and forty nights and cross a river of blood beneath a sky with no moon nor sun. In some versions, they pass a garden with a prominent tree, and as Thomas reaches for the apple, his mentress cautions against the “very fruit o’ hell” and serves him bread and claret wine instead.

Eventually, they come to a three-pronged intersection. In a tale cribbed from Christ’s teaching on the broad and narrow gates, the narrow road beset with thorns is the path of righteousness after which, says our balladeer, “few enquire.” The broad road—the wide, easy path—is the road to hell “tho’ some call it the road to heaven.” A third path, unique to fairie lore, is the “bonny road” to “fair Elfland.”

The Fairie Queen gives Thomas a taboo: he must not speak in her court.  He must serve her for seven years (or, seven years and a day). Eventually, when the Fairie Court’s periodic teine (tithe) to hell comes due, court machinations seek to sacrifice the most readily available mortal, and the Faerie Queen fears for his life because he is so handsome (“leesome and sae strang.”) As a parting gift, she gives him his wages:  True Speech, the “tongue that can never lie.”

My poems

Eggplant Literary Productions has a fabulous “transdimensional library” of books which have “never existed” or “haven’t been written yet.”

Therein, you will find my very own love songs for the Fairie Queen ostensibly penned by Thomas the Rhymer.  http://eggplantproductions.com/?p=544

View the library catalog card here: http://eggplantproductions.com/?page_id=69

Also check out the interplanetary classifieds http://eggplantproductions.com/?p=418

and a sorcerer’s income tax return http://eggplantproductions.com/?p=491 while you’re there.

References

Child, Francis James. English and Scottish Popular Ballads. Available online through the Internet Sacred Text Archive at  http://www.sacred-texts.com/neu/eng/child/ch037.htm