Variations: Bugorne; Bicorne, Bycorne, Bulchin (English); Biurro, Biarro, Biligornia, Tantafera (Italian)
Bigorne is as corpulent as its counterpart Chicheface is emaciated. This bloated creature was said to feed solely on husbands who obeyed their wives, and as such was fat and well-fed. Of French origin, it featured in a number of facetious works from the 15th century and on. Both Bigorne and Chicheface are notably represented in frescoes at the Chateau de Villeneuve, in Auvergne, by Rigault d’Aurelle.
The name Bigorne is presumably derived from bicornis, “two-horned”, and also refers to a two-horned anvil. Bigorne itself claims to hail from the fictitious land of Bigornois. The word and variations of it have also been used to refer to debauched old women, to navy infantrymen (bigorniaux or bigreniaux), and to periwinkle snails (bigorne, bigorneau).
Representations of Bigorne show a massive creature taking clear inspiration from the better-known Tarasque. It has overlapping scales on its rounded back, a smooth belly with lozenge-like scales, clawed bestial forepaws, webbed hindpaws, and a tufted tail. Its face is somewhat human in appearance, unlike that of Chicheface. Alas, no horns are present.
Bigorne has no shortage of patient and submissive husbands to feed on. In its signature poem, Le dit de Bigorne (“The say of Bigorne”), it states that Bons hommes sont bons a manger (“Good men are good to eat”). It is accosted by a desperate man who seeks deliverance from his wife, begging it to eat him; the Bigorne has to excuse itself as it’s still working on its last meal – Attens ong peu beau damoyseau / Laisse mavaller ce morceau / Qui est tresbon ie ten asseure / Et puis a toy ie parleray / Et voulentiers tescouteray (“Wait a bit handsome youth / Let me swallow this morsel / Which is quite delicious I assure you / And then I will talk to you / And gladly listen”). It refers to women and Chicheface disdainfully and brags of its gluttony: Ils viennent a moy a milliers / Aussi grans comme de pilliers (“They come to me in the thousands / Each as big as a pillar”). It finally consents to eat the man; this being a medieval farce, the poem ends on a suitably crude tone as the Bigorne requests that he not break wind or urinate while it swallows him. Il ne te fault point deschausser / Ni despoiller, cest ma nature / Bons hommes font ma nourriture (“You needn’t remove your shoes / Or undress, for it’s my nature / Good men are my food”).
Chaucer mentions “Chichevache” but not its plump companion. In Lydgate’s Of Bycorne and Chichevache it is “Bycorne” who eats submissive wives, inverting the roles. A masquerade in Florence in the first half of the 16th century saw the likeness of a monstrous beast paraded through the streets. Dubbed Biurro, it bore a sign on its chest proclaiming: Io son Biurro che mangio coloro che fanno a modo delle mogli loro (“I am Biurro and I eat those who do their wives’ bidding”).
The uglier Chicheface has proven more popular than its content companion. Stripped of its chauvinistic overtones, the Bigorne is also a fearsome black beast that roams around Saintonge at night.
References
Barber, R. and Riches, A. (1971) A Dictionary of Fabulous Beasts. The Boydell Press, Ipswich.
de Chesnel, A. (1857) Dictionnaire de Technologie, t. I. J. P. Migne, Rue d’Amboise, Paris.
Gay, J. (1871) Bibliographie des ouvrages relatifs a l’amour, t. II. J. Gay et Fils, Turin.
Jannet, P. (1849) Bigorne et Chicheface. Journal de L’Amateur de Livres, t. I, P. Jannet, Paris.
Michel, F. (1856) Études de philologie comparée sur l’argot. Firmin Didot Freres, Fils, et Cie, Paris.
de Montaiglon, A. (1855) Recueil de poésies francoises des XVe et XVIe siécles, t. II. P. Jannet, Paris.
Silvestre, L. C. (1840) Bigorne qui mange tous les hommes qui font le commandement de leurs femmes. Crapelet, Paris.
de Soultrait, G. (1849) Notice sur le Chateau de Villeneuve en Auvergne. Bulletin Monumental, s. 2, t. 5, Derache, Rue du Bouloy, Paris.
Tyrthwitt, T. (1868) The Poetical Works of Geoffrey Chaucer. George Routledge and Sons, London.
