Sir Cleges and the Winter Cherries#

First heard: David Heathfield (Exeter Storytellers), Yuletide Tales online, Dartmoor Storytellers, December 19th, 2022.

Here’s the gist of the tale:

Sir Cleges was an old knight of Uther Pendragon. Generous to a fault, he gave alms to all, to such an extent that he and his wife Clarys had nothing left. It was midwinter, bitterly cold, and the sound of the King’s court could be heard; but they had no gifts to take, A cherry tree in the garden bloomed, and gave a heavy crop of red chaerries. Sir Cleges took them to the King, but dressed as he was, looking like a pauper, was insulted as a churl. The porter let him through but demanded a third of what the King would give in return. The usher let him through, for a third. The steward let him through, for a third. The gift was given and Sir Cleges joined the feast. Uther is impressed (as is a certain “lady of Cornwall” whom he’s perhaps trying to woo…). A reward is asked for, and granted: twelve strikes of the stick to be justly given. The steward, the doorman and guard were beaten by Sir Cleges. Sir Cleges returns, to find the harper singing songs of his old exploits. Prompted by the song, the King asks Cleges to come closer, at which point he recognises him as his old loyal knight, and rewards him.

The “lady of Cornwall” is Iguerne, which it to say, Igraine, which is to say, King Arthur’s mother. How Uther seduced her is, of course, another story… But there is great scope here for telling that tale in the same sitting as this, as the scene is already set…

The original tale can be found in a couple of 15th century manuscripts in Middle English.

Pronunciation

I keep vacillating on this… The name may be spelled “Cleges” or “Clegys”. AFter discussion with Prf. Richard D. Brown, I think I am settled on “Clegg-iz”, but reserve the rights, as was apparaently the custom at the time, to vary the pronunciation as appropriate, which might variously allow Clegg-iss, “Cledjizz” and variants of “Clee-jiss”.

I also need to learn to read and write IPA, the International Phonetc Alphabet!

A really concise and efficient telling of the tale appears in Stories of Early England by E. M. Wilmot-Buxton, published in 1906/7.

So what, then, was this Old English Metrical Poems. Thirteenth century? Jessie L. Weston’s Sir Cleges. Sir Libeaus Desconus. Two Old English metrical romances rendered into prose, 1902, gives a prose version of the original metrical poem:

Of the two romances contained in this volume, the first — Sir Cleges — scarcely, perhaps, deserves the name of a romance ; it has rather the character of a lai or fabliau the tale being short and somewhat compressed in style, and the final incident distinctly humorous in character. It exists in a unique paper MS. of the fifteenth century, preserved in the Advocate’s Library, Edinburgh, from which it was printed by Weber in the first volume of his Metrical Romances.

Weston continues:

Though lacking in the grace and charm of the French lais the story of Sir Cleges is by no means wanting in interest ; the simple faith and trust of the poverty-stricken knight, and the miraculous succour vouchsafed to him, contrasted with the somewhat rough humour of the closing scene, have a piquant and by no means unpleasing effect. The author is unknown, but the edifying character of the tale might lead to the conjecture that it was the work of an ecclesiastic gifted with a sense of humour. Slight as it is, the story seemed worth preserving, especially in a volume intended for Christmas publication.

So how does this compare to the Metrical romances of the thirteenth, fourteenth, and fifteenth centuries as published by Henry Weber in 1810:

Weber’s own introduction to the poem also suggests a parallel, or earlier, version in the form of a Novell by Saccheti dating back to about 1376, abstracted as follows:

King Philip de Valois had a favourite hawk of great beauty and value. One day, after having taken several birds, the bird was pursuing another, but soared so high, that the king lost sight of it; and though eight of his squires were sent in search of the bird, they were unable to accomplish their design. The king now caused proclamation to be made, offering two hundred francs to any one who would bring the hawk, and threatening any person who detained him with the gallows. One day, the bird perched upon a tree, and a peasant, who happened to pass by, was so fortunate as to take him. By the fleurs de lis engraved on the bells, he discovered that he had caught a royal hawk, and, hearing the proclamation, set out for Paris in hopes of the reward. By the way, he met an usher of the king’s palace, who demanded the hawk of him. The clown was wary and refused : but by the threats of the usher, he was induced to promise one half of the profits to him. Having reached Paris, the king was so delighted, that be ordered the peasant to choose his own reward. The latter immediately demanded either fifty lashes, or else an equal number of bastinadoes. The king very naturally asked the reason of such a whimsical choice. When the peasant had related the avaricious bargain which had been forced upon him, the poor usher received his share of the reward with great punctuality ; but the half which the clown had retained was converted into two hundred livres, with which he returned contented to his home.

A more complete version of the Sacchetti tale mentioned by Weber can be found in Mary Steegman’s translation Tales from Sacchetti, 1908:

A comprehensive set of notes on parallel or alternative versions of the tale appear in the Introduction to G. H. McKnight’s Middle English humorous tales in verse, c1913.

As you might expect, McKnight’s version of the poem, taken from the Oxford manuscript, with omissions repaired by inclusions from the Edinburgh manuscript, also provides a critical review, rich in annotations (there is also a useful glossary).

See also

Middle English alphabet

There are several “lost” letters we need to be aware of:

  • þ: the letter thorn; pronounced as the unvoiced “th” in “think”, although it may also be used as the voiced th in “that”;

  • ȝ: the letter “yogh” (yog, or yough (as in cough))

Another critical review of the poem can be found in a dissertation published in 1896, “Sir Cleges. Eine mittelenglische Romanze. I. Einleitung” by Adolf Treichel. It’s in German, so I’ll need to run it through a translation tool first…

A version of the poem presented using a rather more “modern” form of English can be found in various works by Henry Morley published as part of Cassell’s Library of English Literature. The notes include multiple comments on etymology and pronunication, though not, it has to be said, on how to pronounce Cleges!

A simpler narrative version of the tale has previously appeared in the popular American children’s St. Nicholas Magazine:

Other narrative versions appeared with illustrations, as in the following case:

Concise versions of the tale also appeared in some collections of Arthurian tales:

And finally, as ever, the Reverend Sabine Baring Gould waxed rather more lyrical in his retelling of the tale in The Crock of Gold, published in 1899. And as with many of his retellings, rather than provide a purely narrated version, or a purely metrical version, his text combines narrative elements interspersed with verses: